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1. E Ed t LAXAT FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT of printers configured on the Mac will appear 3 Scroll down the list to locate the printer A detailed description of the printer is available here 4 Print a test page to the Windows printer This will determine ifthe connection from the Mac to the Windows device is valid The test job should appear in the Windows print spooler As mentioned earlier if a name is created with spaces or hyphens these are transposed to underscores for the actual printing device Below shows an example where the description appearing in the Mac Printer Utility list has spaces in the name Through CUPs the actual device name is shown The description still contains the spaces but the actual device being printed to has underscores In this instance the path used in destinations would be my printer with spaces Another way to check the status is to use the terminal Page 440 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT 1 Open a terminal from the Applications gt Utilities folder In the terminal type Ipstat p This will report on all printers configured on the Mac 2 Search for your printer in the list and verify the name The format will be like printer my printer with spaces is idle Enabled since Jan 01 00 00 3 Try and print from the terminal Locate
2. APPLICATIONS The applications available within Serendipity Megarip add functionality to the Client and provide additional tools for managing the Server and jobs There are twelve 12 Applications available including the Workbench and Monitor All are accessible via the Applications menu in the Client Some such as Calcheck can be launched via other Applications or Monitor Modules The available Applications are listed here with further details on each following e Archiver Make partial or complete backups of the Workbench configurations e Calcheck Verify the calibration status of a printer or monitor e ClusterManager Allocate and manage Imaging and Rendering tasks across multiple computers and networks e Densitometer Measure and display density readings taken with a Densitometer or Spectrophotometer e FlipBook Display a publication as a 2D or 3D virtual book e Lineariser Create a Linearisation curve for use with a Pagesetup or Media e Monitor Display and manage jobs as they pass through Megarip see the Monitor section for more information e MonitorCalibrator Create ICC profiles for system monitors for accurate onscreen colour softproofing e SoftProof Proof jobs onscreen Page 310 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Spectrophotometer Display compare and or save colours measured using a Spectrophotometer
3. Page 437 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT the node server is up the machine is still connected to the network and can see the Master If there is a problem with the node check the error log One the problem is resolved click the Refresh button or close and reopen the ClusterManager e The Node and Master are different versions The node should always be upgraded when the Master is to maintain the same versions in a Cluster CLUSTER NODES ERRORS LoG The Cluster Nodes create an error log which logs all the messages from the node This is located in the Megarip installation directory on the node s own machine and is called errors log This can be viewed with a normal text editor and can help to track a problem or it can be sent to support for assistance in tracing a problem A NODE CANNOT BE FOUND Once you have started the node successfully you should be able to see it in the ClusterManager If not you need to add the node manually If this fails there are a few things to check e Verify the node is still running and the clock is still counting up e Check the error log for any messages e Check that the Master machine can ping the node machine If not there may be a network issue and you will need to contact your network administrator for assistance e Check the ports on the machines are open for the node to connect to the Master and they are not
4. Select a networked AppleTalk device to print to The Change button displays any valid AppleTalk devices Secure FTP sftp Send the job to a secure server using FTP TCP IP Port Print to a networked device over TCP IP USB Printer Print to a printer connected via USB Page 238 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT COLLATING Collating is a method of gathering various outputs and grouping them together There are two 2 methods of collating available depending on the output driver selected If an output driver that supports Duplexing is selected the additional Duplexing collation method becomes available Otherwise the only option is Nesting DUPLEXING Duplex jobs with multiple pages to form double sided printing This is only available for printers supporting duplexing modes e Add Separator Page Adds a blank page between duplexed sets This is useful when de imposing and duplexing perfect bound jobs A blank page is inserted after the Maximum Jobs is reached for duplexing to begin e Top Page Determine if the top page is an odd or even number e Maximum Wait Time Set the time to wait before duplexing begins If the MWT is reached and the back side of the pages has not yet been processed the queue will begin Page 239 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT to duplex any av
5. Displays the Assets as large thumbnails only e A search field is available at the bottom of the panel Enter text in this field to find job names containing the search string Non relevant assets are temporarily removed from view as the string is typed This will not appear for the Large Thumbnail view Assets dragged and placed onto the dark gray work surface of the Layout area are scaled to their native size Assets dragged and placed onto a frame scale fit or fill rotate and crop to the defined frame parameters Page 388 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT PROPERTY PANEL The Property panel displays information on defined elements being used in the Layout area The panel has three 3 areas Document Media and Frame e Document is used to activate Tiling Mode and define the total area to be tiled e Media shows the width and height length of the printable area for nesting or tiling e Frame contains configurable parameters for the currently selected frame including fields for size scaling and orientation measurements can be input using any supported unit for eg 60cm 32in and will be automatically converted to the chosen default unit selection upon entry The sections within the Property panel can be shown or hidden by clicking on the box icons at the top of the panel shown here Configurable DOCUMENT The Document area is
6. IBM blue or to quantify the accuracy of mapping methods RELATIVE COLORIMETRIC The goal in relative colorimetry is to be truthful to the specified color with only a correction for the media Relative colorimetry is useful in proofing applications since you are using it to get an idea of how a print on one device will appear on a different device Media differences are the only thing you really would like to adjust for Obviously there has to be some gamut mapping going on also Usually this is done in a way where hue and lightness are maintained at the cost of reduced saturation Relative colorimetric is the default rendering intent on most systems PERCEPTUAL AND SATURATION The perceptual and saturation intents are where the results really depend upon the profile maker This is even how some of the competitors in this market differentiate themselves These intents should be created by the profile maker so that pleasing images occur with the perceptual intent while eye catching business graphics occur with the saturation intent This is achieved through the use of different perceptual remaps of the data as well as different gamut mapping methods Perceptual rendering is recommended for color separation In practice photographers almost always use relative or perceptual Page 15 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT intent as for natural images absolute causes color c
7. New Tab Creates a new tab Rename Tab Renames the currently selected tab Duplicate Tab Duplicates the currently selected tab and all modules within it Choose Tab Colour Allows the user to select a colour for the currently selected tab Choose Tab Image Allows the user to select an image for the currently selected tab background Valid types are PNG and JPEG It is recommended a large image not be used as it will take up memory Clear Tab Colour Image Reverts to the default background colour Remove Tab Deletes the currently selected tab Remove All Tabs Deletes all tabs Page 285 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT e Next Previous Tab Switches to the next or previous Monitor tab right or left REORDERING TABS Tabs can be moved to a new position by clicking on and dragging the tab to the desired place in the order A red pointer appears showing the drop point between two tabs Page 286 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT MONITOR MODULES Modules are used for managing jobs as they pass through the system and to monitor Server and Client activity The modules can be added to a tab as part of a Monitor layout or selected as a Floating module where the window is stand alone Modules are added to a Monitor through the Layout menu floating modules are available from t
8. Refresh All Queues Updates the queues Export Export data from the selected job The available formats are CIP3 Exports job information to a file in CIP3 format at the selected resolution The orientation can also be selected before exporting Further options are Version 2 1 Version 3 0 Rotations Surface Choose front or back Page 302 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT e Compress Preview Choose if the preview should be compressed Some presses are unable tohandle files in compressed format e PDF Exports the selected job in PDF at the resolution entered Further options are e Compressions JPEG ZIP or LZW For JPEG and ZIP control for the level and quality of compression is also available e Postscript separated Exports the current job as a separated PS file e Tiff Multichannel Exports the current file as a multichannel Tiff e Calcheck Job Launches the Calcheck application to check a job s calibration status The jobname is stored and the results can be exported or printed Measurement results from the Calcheck are stored in the Job Info e Calculate Ink Weight Displays the Ink Weights window with the selected job s ink weights and coverage shown e Pause Resume Printing Processing Pause or Resume the output queue of the selected job at their current stage of processing or printing Imaging Rendering Nesting or Prin
9. The Client settings are custom options specific to the Client currently being used Settings may vary between Clients and Users connected to the same Server The Client settings are divided into three 3 tabbed categories General Colour Management and Application Shortcuts GENERAL e Internationalisation Select the preferred language from those available This displays all Client and log messages in the chosen language The default is English A restart is required if the language setting is changed rs e Show Tooltips Enable or disable tooltips within the Client e Turn Sound FX Off Check this to disable the sound effects Sounds are used for things such as drag and drop and error message alerts Page 412 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Undo Levels Set the number of levels for Undo The default is zero 0 which means no restriction Instant Messaging Nickname Enter a nickname to use when accessing the Chatterbox application Memory Cache Maximum Size Set the maximum cache size for the SoftProof application The default is zero 0 where the Server chooses the default depending on system configuration Maximum Preview Resolution Set the maximum preview resolution for SoftProof for both Imaged and Rendered options The default is zero 0 which is the full job resolution of the output file COLOUR MANAGEMENT Choose Defa
10. The maximum AH tolerance value for the patch as defined in the Calcheck Chart AH The measured AH of the colour patch AC max The maximum AC tolerance value for the patch as defined in the Calcheck Chart AC The measured AC of the colour patch Delta L The measured delta L of the colour patch Delta a The measured delta a of the colour patch Delta b The measured delta b of the colour patch Location Used in monitor Calchecks Shows from which of the nine screen positions the patch was measured For print Calchecks this field will read N A Page 319 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT DEVICE SPECTROPHOTOMETER PANEL Choose whether a Print or a Monitor Calcheck is required and which measuring instrument is to be used e Device Choose whether to Calcheck for a Print or a Monitor PRINT MODE e Spectrophotometer Choose which Spectrophotometer is to be used for measurement from the list of supported instruments e Measure Initialises the chosen instrument and opens a popup window to select which Calcheck Chart is to be measured Measurement begins after the chart is selected The data from a chart measured by a third party software package can be loaded for a Calcheck be selecting CGATS ISO12642 file from the instrument list The file must have been saved in an appropriate format e Print Chart Opens a chooser window to select the Calc
11. At any time the image boundaries can be renegotiated and refined It is completely non destructive This tool is part of a Layout Palette of tools that facilitate changes of image dimensions scale and coherence to three decimal points of accuracy All these changes can Page 42 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT immediately be undone and are considered intrinsic to image creation STAGE 2A The second stage of the workflow involves resolving the Tonal Composition The 8 amp W image was initially contrast balanced This is the equivalent of exposing for the minimum density print highlights and processing for the maximum density print shadows in the analogue darkroom Changes to analogue exposure shift all values lighter or darker An ideal darkroom test strip reveals the optimum exposure rendering for the highlights and also indicates whether important shadow values are too light or too dark at that exposure time The paper s contrast grade and or processing is adjusted accordingly to produce a print whose dynamic range is optimised for that negative My approach in the digital darkroom was no different with the intention being Page 43 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT to fully exploit its fixed 256 levels 8 bit dynamic range The image was also colour balanced to refine the
12. Page 277 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT with a higher resolution however it is slower to process and print A lower density may produce sufficient density depending on the printer and media used Colourspace Select CMYK If using the Black Ink Combination only choose Gray as the Colourspace as this may result in slightly faster processing However in this mode inks cannot be mixed to produce a denser output Selecting CMYK and configuring a Paper Profile will allow the choice to use Black only of a mix of colours at a later stage without having to recreate a Paper Profile Custom Settings Select the appropriate media choose Uni directional or Bi directional and turn the Use Light Inks option off Bi directional is faster but may produce slight banding or may not be as dense as printing Uni directionally Using Light Inks will affect the patches in the Paper Profile In Screen Printing mode only one patch can be on per colour Screen Printing Enable Screen Print Mode and select Black for the Ink Combination and any others required Once this option is selected jobs submitted to this Media will always be separated and printed using the selected colours One or more inks must be selected from the available choices If Gray is selected as the Colourspace only Black will be shown as a choice Output Screening Select Halftone and tick the Sup
13. Select this to choose a Logo file EFFECTS Various effects may be applied to jobs passing through the Pagesetup Effects are applied in the order they appear here Some effects have separate attributes for customisation and can be edited once they are in the Applied Effects column The Effects are Page 257 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Border Place a border around the job Line width and colour can be specified Centering Centre the job in the specified page area Convolution Matrix Design your own filter effect according to a pre defined mathematical operation known as convolution Cropmarks Place crop marks around a job Line width length and clearance can be specified Edge Detect Remove all content and just leave the edges Margins Specify margins around the job Mirror Mirrors the job Negative Renders the job as a negative Pagenumber Place the page number in the middle of the page as a watermark Scale factor and opacity can be configured Rectangle Draw a rectangle around the job inset at the desired distance line width and colour Slugline Place job information on the job There are a number of options available via the Edit button If using a narrow format paper and the full slugline doesn t fit select Custom Slugline and turn all options on This will show an item per line Within Custom fields selected will on
14. e RDT Smooth 1 2 and 3 This is RDT with progressive levels of smoothing Note Fast 2 should be used where the dot structure is not very important It will preserve the dot but is a quick low quality method The sharpest dot structure will be achieved using RDT however there will sometimes be introduced moire caused by the head weaving of the printer the resolution and the screen ruling of the original file e Descreen Descreens the incoming data with either e D Dot Removes the dots or e Fast Quick descreening algorithm Note D Dot is used where the output job is being sent to a photocopier or similar device with a front end RIP that applies a screen of its own If the dot was not removed the job would be double screened producing poor output Use Fast for all other methods when the incoming screening is not to be preserved e Plates and Plate Type Override the descreening mode selected with other modes for the plates This is needed so that for example if RDT is used for all plates except Black which uses RDT Smooth 2 you will avoid getting moire POSTSCRIPT PDF OPTIONS The following options are only used when the incoming data is Postscript Femra PUB Cte lum Rexamaiomg Meer Por Tagen or begi LE a OM Died Tail oe BGE imas Wr a Camel icm em e FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT e Use Bounding Box for Page Size Some Pos
15. exhibitions and publications the tradition of the fine print was rewritten as straight modernist photographic perfection Newhall 1982 Colour photography on the other hand was never included in this tradition of the fine print Prior to the 1970 s few serious photographers had broken through a nexus of technical and aesthetic barriers to employ colour At the end of the decade its use was widespread North 1982 p 17 Despite this rapid growth in the acceptance and use of colour in fine art photography no publications grounded in the fine arts were available on fine colour printing or even the history and tradition of the colour photographic print The available texts were instruction manuals written by manufacturers Kodak 1951 and the only advanced texts were Page 23 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT technical manuals written by outstanding laboratory technicians such as Bob Pace Pace 1989 and David Doubley Doubley 1984 or surveys of colour print making methods by educators such as Arnold Gassan Gassan 1981 Like most photographic manuals and in contrast to both Mortensen and Adams they contain few if any images that demonstrate technique in an applied context Colour photography is presented as a science not a craft and remains divorced from its practice The Manual of Photography first published in 1890 is the longest continuously in print
16. midtone separation and uniform chroma To refine this luminosity in Photoshop PLUL frequently use Curves on a Background layer copy that has been desaturated DeWolfe 2006 p 60 The Kodak Wratten 90 monochrome viewing filter visually approximates the relative tones of gray produced in black and white prints by different colours under daylight illumination Kodak 1990 p 130 This dark greyish amber filter popularized in the fine print community through Fred Picker s Zone VI company Picker 1974 1978 reduces hue differences so relative brightness dominates the observer s perception The CIE 1924 photopic luminous efficiency Page 125 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT function V A defines the luminance coefficients that match the human eye s physiological characteristics and forms part of the colour matching functions of the CIE 1931 standard colorirnetric observer CIE 1986 Desaturating the image is not the same function because it only averages the brightest and darkest channels in the image therefore it can t emulate the eye s weighted chromatic response and is not equivalent to evaluating the subject through a Wratten 90 viewing filter DeWolfe also claims that one of the most important functions of this new set of technologies is the ability to control chroma saturation in Photoshop independently of color and brightness D
17. p 225 However once photography s tenacious adherence of the referent Berger 1980 p 291 is digtized it can be easily and seamlessly falsified by computer programs Barrett 2006 p 170 171 Thus the photograph s adherence to what was present at the moment it was photographed is no longer the sole cause of the digital photograph Digitization also confers speed transmission and interactivity to digital data that is impossible in analogue photography Digital images are the ultimate ready mades Mitchell 1992 p 85 Digital images also exist only in their performance on a computer screen Combined with the variability of processing and lack of processing standards their status remains uncertain and indecisive and because they are so easily distributed copied transformed and recombined they can readily be appropriated or misappropriated Mitchell1992 p 223 Digitization therefore shakes the axiomatic foundations of photography potentially promoting abuse and paranoia Page 40 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Though digital photography may have replaced many functions once filled by analogue photography its genealogy is complicated Justas photography did not replace painting wholesale like a universal upgrade its impact was irreversible Walker 2006 p 31 While the death of photography was a premature claim It was typical of the
18. references to the history of print making Johnson 2003 Johnson s overriding concern is the technology and how it works A gallery of 18 artists does nothing to explain why the technology is being used only what technology is used and briefly how it is used In an otherwise expansive and detailed book the omission of the fine photographic print tradition continues to reinforce an ahistorical perspective of colour printing being outside of and irrelevant to the fine print The concept of print quality is covered in one short paragraph in the first edition and over two pages in the revised second edition Johnson 2005 p 187 188 However in both cases print quality is only defined in material terms such as printer resolution number of colours and ink droplet sizes J The only publications that have attempted to theoretically and practically embed dig ital colour printing in a fine print tradition thereby refining and extending that tradition are John Paul Caponigro s Adobe Photoshop Master Class Caponigro 2000 and George DeWolfe s Digital Photography Fine Print Workshop DeWolfe 2006 As OeWolfe states in his introduction This book is about craft It s not about tips or techniques or even Photoshop really although these important factors form much Page 28 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT of our discussion and they have their place Craft is about ou
19. teach and work with The craft of photography s slow undulations are out of step with the instantaneous feedback and immediate gratification of electronic processes We can make our pictures by easier faster and more obvious routes that are free of excessive or heroic labour We don t do this because we are time poor and nor is the craft of photography being lost Page 77 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT because we no longer have the time to make things by hand We are in fact time rich because we now don t have to waste time making things by hand we can now get on with other things Perhaps we are even beginning to value things not because they are hand made but because they are now not tainted by the human hand To witness an originating mind remains no less satisfying than seeing signs of the originator s hand After all photography has long been understood as a vehicle for the exploration of personal and artistic ideas not just acts of labour or scientific inquiry Marien 2002 In any case the lenses we entrusted with the drawing of our analogue images and the emulsions that faithfully recorded that drawing for us were also divisive processes The digitization of continuous tone and resolution into steps of resolution called pixels and steps of tone called levels no longer represents the underlying atrocity it once did
20. though the H and B numbers remain unaffected The new colour being picked is described in HSB Lab CMYK Hexadecimal and RGB colour order models Changing the value of any of these parameters will change the colour being picked This also demonstrates that when working with an RGB file the hue can be preserved independently of brightness and saturation but saturation can t be preserved independently of brightness This is a problem with all of Photoshop s colour Modes RGB Lab and CMYK The Color Picker shows that even in device independent Lab Color the brightness can t be changed independently of saturation For example gm Co vr es M e an sa ox bir E cis x c wm x 5 sole se s r o x Oniy Web Colors Only Web Colors ee 9 Photoshop CS2 Color Picker 3009H 25965 92 B Photoshop CS2 Color Picker 300 H 75 S 92 B In the HSB colour model saturation can be increased independently of hue and brightness but this nevertheless represents a new colour as is represented in the changing Lab RGB Hexadecimal arid CMYK numbers Unfortunately Adobe dropped support for the HSB and HSL colour modes in Photoshop v 2 5 in 1993 replacing them with the Lab colour mode An Adobe Page 143 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT HSL HSB plugin was made available that enabled the independent editing of hue saturation and brightness but you can t
21. used during the blue filter separation negative The red CRM mask lightened cyan and the green CRM lightened magenta in the print therefore the red CRM corrected the excess cyan leakage in the greens and the green CRM corrected the excess magenta leakage in the blues resulting in cleaner colours in the finished Dye Transfer print The same principles are applied to perfect the separation of LUMA and CHROMA in Photoshop The colour leakage is correccted by first adding the difference map to the colour layer Page 149 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT before duplication and subsequent separation into its component red green and blue colour layers The unwanted colours also need to be masked out of each of the colour layers by inverted layer masks based on Color Range selections applied to the two opponent colour layers For example an inverted red Color Range selection is loaded as a layer mask on the green and blue colour layers The contrast of the layer mask is adjusted until the correct separation is achieved This takes several iterations and is analogous to the variable exposure and development required in the production of the colour filtered CRM film based Dye Transfer masks The gamut limitations of Photoshop s Luminosity and Color blending modes can also be illustrated with three dimensional gamut plots of colour gradients before and after separation i
22. 121 Eismann 2005 p 199 Willmore 2004 p 217 7 claim that blending ROB Curves on Luminosity will achieve the desired result without inadvertently shifting the color balance Kieran 2003 p 243 Michael Kieran goes on to say Luminosity Mode is the opposite of Color Mode it combines the luminosity of the active layer with the hue and saturation of the underlying image This makes it useful in color correction where it is often advantageous to integrate two versions of an image one optimized only for color without any concern for contrast and the other optimized only for contrast Kieran 2003 p 298 Unfortunately this is not what happens Blending the burning in Adjustment Curve on Luminosity results in the following HSB values for the orange bricks Page 99 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Original Hue 25 Saturation 43 Brightness 54 After Burning In Hue 21 Saturation 68 Brightness 29 Blended on Luminosity Hue 25 Saturation 78 Brightness 30 Blending on Luminosity has maintained the hue not the saturation The colour balance is better in the sense that the hue remains unchanged but at the cost of the saturation being increased by 55 These findings contradict Ben Willmore s definition that Luminosity blending will limit the changes you make Curves in our case to changing only the brightness it will not be able to shif
23. 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Amazon com pairs craft with hobbies while photography maintains its own search category The only currently in print title that combines craft and digits photography refers to digital photographs as raw material for scrapbooks and related hobbies Bradley 2005 There axe still no equivalent digital texts to Ansel Adams legendary Basic Photography Series Adams 1948 1950 1952 though by December 2005 there had been published 1497 books that included in their title the word Photoshop This list has grown to 1748 books by June 2007 However with only a few exceptions such as Caponigro 2000 Blather 2005 Margulis 1994 2005 Johnson 2006 these texts tend to be dominated by repetitive and often reductive or simplistic explanations of Adobe Photoshop techniques processes and procedures Included in their titles are words like Art Artistry Bible Cheat Commercial Complete Creative Dummies Dynamic Essential Everyday Fine Art Hands On Inside Interactive Killer Master Class Mastering Masters Memories Photographer s Techniques Trade Secrets Savvy Spacial Effects Simple Visually Wow and Wizardly The word that never appears is craft To take time away from an electronic workflow to process at the speed of a darkroom increasingly just does not feel right to the students and professionals
24. AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT EFFECTS The Effects panel contains the basic effects that can be applied to the image These are simple actions to either improve the view or to adjust the job and resubmit it with the change e Invert Negate the image e Mirror Mirror the image e Auto Crop Remove white space around a job There must be a completely clear area on any one side of the job e Blueline Replace all colours with varying shades of blue to see any traps e Revert Channels Revert to the original channel values e Rotate Rotate the image in various ways e Sharpen Apply an unsharp mask This will affect the edges within an image and can be controlled with the parameters available Page 367 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT INKKEYVIEWER Launching the InkKeyViewer via the Tools menu will open a new window containing the loaded image At the bottom of the window will be a series of ink keys Colour bars give a graphical display of the proportion of each ink contained within the job across the keys For each key selected the relative percentage of ink for each of the plates is displayed An information panel runs down the right hand side of the window The top of the panel shows information about the currently loaded Press settings Job view and placement can be changed and ink weight can be calculated for any job e
25. Colour Check Boxes Positioned above the image these show the inks or plates used in the job Clicking on one will turn the others off and leave the ticked colour on Click each in turn to view another colour or double click Page 368 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT one to show all colours Shift Click to add or subtract colours from the view Ink Keys The keys at the bottom of the window show the inks selected to be viewed on a graph The scale of the graph varies depending on the amount of ink in the job Hovering over or clicking on an Ink Key will display the Key number and its ink values at the bottom of the information panel Press Settings Shows the values for the currently loaded Press Click the box to hide or show the details Press settings used are selected in the SoftProof Settings see Workbench Press for details on press configuration Show Excess Ink Weight Area Display areas exceeding the Maximum Ink Weight setting as defined in the Press configuration Max Ink Key Value Set the size of the ink keys to match the press Ink values are calculated based on the size entered If the size is 100 percentages are displayed Sheet Placement Show the job as positioned on the press sheet as defined in the Press configuration The job can be centered selecting the Centre checkbox or offset from the left X and bottom Y De selecting this
26. Colour Set from the library or edited for that SoftProof instance only Columns can be reordered by using the Configure Headers option in the contextual menu or by clicking and dragging them to the new location CHANNELS e Name The plate name The checkbox indicates whether or not the plate is displayed e Value The percentage of colour at the point of the cursor in the SoftProof window Total ink displays the total amount of ink at the point of the colour selector i e the sum of all Page 362 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT plate percentages For RGB it will show the relative RGB values only Mode The paint mode of the colour as defined in the Special Colour Set or Replace Colour Set If it is not defined the default is Overprint Tint The intensity or tint value of the colour DotGain The name of the dotgain curve applied to the colour This is blank if a dotgain curve has not been applied The contextual menu right click in the Channel Viewer reveals additional menu options Choose Plate Colour Select a plate colour from a Special Colour Set for the selected channel Double clicking will display the same Special Colour Set window Choose Paper Colour Select a colour from the Special Colour Set to use to simulate the paper colour Once set the option to unset becomes available Revert Paper Colour Edit Plate Colour Displays
27. Curves dialog b Dragging the pointer over a CMYK image shows the percentages in the Color palette if it s displaying CMYK values 4 Do one of the following to adjust the shape of the curve Click point and drag the curve until the image looks right to you Click a point on the curve and enter values in the Input and Output text boxes Select the pencil at the bottom of the dialog box and drag to draw new curve You can hold down Shift to constrain the curve to a straight line and chick to define endpoints When you finish click Smooth if you want Previous Topic Ne xt Topic Adobe Photoshop CS2 Help Menu with my highlighting The help menu implies that specific points across the tonal scale can be anchored on a Photoshop Curve and their values locked down and preserved while other areas are independently adjusted It also implies that tonality is adjusted via a master Curve RUB while colour is adjusted via individual Curves Red or Green or Blue Advanced Photoshop text books go one step further by explicitly illustrating ROB Curves adjusting contrast and tonality Willmore p 2 16 228 while individual channel Curves are used to adjust colour Blatner 2006 p 281 285 Willmore 2004 p 284 287 Some authors illustrate ROB curve adjustments only with black and white images Vans 2006 p l7 L21 Evening 2005 p 151 153 Blather 2006 p 260 or no images at all Caponigro 2000 p 49 53 Blatner 2006 p 258 25
28. DEVELOPMENT JOURNAL COLOUR MANAGEMENT e Increase DropSpot Inset Increases the size of the DropSpot e Decrease DropSpot Inset Decreases the size of the DropSpot e Font Options Change the size of the text Additional contextual menu options are available for individual DropSpots e Remove DropSpot Remove the selected DropSpot e Edit Pagesetup Edit a section of the selected Pagesetup all sections or create a new one e Edit Media Edit a section of the selected Media all sections or create a new one e Change DropSpot Change an existing DropSpot e Set Copies Set the number of copies for every job dropped on the zone e Set Colour Select a colour from the list for the currently selected DropSpot Page 293 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT MEDIASTATUS The MediaStatus module has two 2 functions e To show the current calibration status of a selected Media data type For the calibration status to be shown or updated for a Media it must have been Calchecked using the Calcheck Media menu option see below or the Check Media option in the Calcheck application e To show how much of the media e g Paper has been used A meter graphically detailing the percentage used For the Usage meter to function values for the Media Length or the number of sheets loaded must be entered in the Output section of the Med
29. DONGLE DRIVER UPDATE 183 INSTALLING THE SOFTWARE UPGRADE 183 MACINTOSH INSTALLATION 184 INSTALLING THE DONGLE DRIVER MACINTOSH 184 INSTALLING SERENDIPITY MEGARIP 184 CREATING DOCK START ICONS 185 MAC OS X UPGRADE FROM V4 TO V5 185 BACKING UP V4 186 USING THE ARCHIVER 186 SAVING THE V4 DATABASE AND ICC PROFILES 186 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT USING THE DATABASE FROM V4 LINUX INSTLLATION NSTALLING THE DONGLE DRIVER INSTALLING THE CLIENT RUNNING THE SOFTWARE STARTING THE SERVER STARTING THE CLIENT CONFIGURING MANUALLY OUTPUT CONFIGURATION MEDIA CONFIGURATION PAGESETUP CONFIGURATION MONITOR CONFIGURATION THE SERENDIPITY MEGARIP SERVER Server Options THE MEGARIP DONGLE UPDATER Updating the Dongle THE SERENDIPITY MEGARIP CLIENT Look and Feel Workbench Menu Options Contextual Menu Right Click WORKBENCH DATA TYPES CALCHECK CHART Toolbar Options Patch Definition Target Standards Spectrophotometer Patches GRADATION CURVE Toolbar Options ICC TWEAK SET Options MEDIA 198 201 205 206 208 210 215 216 218 219 219 221 224 187 188 189 190 191 191 192 193 194 194 195 198 201 205 211 214 221 223 226 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Output 227 Calcheck Info 228 Usage 229 Colour Correction 230 ICC Profiles 231 Screen Printing 232 Output Sc
30. Enter the page number for the starting page or use the arrows to select the first page number of the FlipBook If the first page loaded is page 1 the start page number cannot be altered If the first page loaded is greater than 1 a lower value as the start page number can be entered This can be used if viewing a part publication where the first pages have not been processed Top Page Choose whether the top page of the FlipBook is Even or Odd This panel is where the FlipBook pages can be viewed When a FlipBook is opened the pages of the publication are loaded and displayed in 2D two dimensional view There are various ways to navigate through the publication Page 334 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Clicking on the page of the image Clicking on the right page will move forward through the publication Clicking on the left page moves backwards Clicking on the pages in the Page Navigator Panel Displayed below the Page View panel The view jumps to the page pair selected Space Bar The space bar moves forward to the next pair of pages Hold the shift key and press the space bar to move backwards PageUp PageDown Use these buttons on the keyboard to navigate forwards and backwards through the publication Arrow Keys Use down or right arrow keys to move forward through the publication and left or up to move backwards Scroll Bar Moving the scro
31. FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT but saturation remains constant because saturation is the colorfulness of a stimulus relative to its own brightness Fairchild 2005 p 86 Though the CIE system of colorimetry established in 1931 has proven extremely useful it also has limitations Most of its limitations are inherent in the design of a system of tristimulus values based on color matching Fairchild 2005 p 111 The colour matching functions of the CIE 1931 standard observer include colour appearance phenomena such as colour constancy memory colours discounting the illuminant the Bezold Brucke Hue Shift hue changes with luminance the Abney Effect hue changes with colorimetric purity the Jelmholtz Kohlrausch Effect brightness depends on luminance and chromaticity the Hunt Effect colorfulness increases with luminance the Stevens Effect contrast increases with luminance and the BartlesonBrenernan Effect image contrast changes with surrounds Fairchild 2005 P 111 132 Does this imply that a comprehensive colour appearance model can t be implemented in Photoshop What are the editing functions that need unambiguous control What cultural and software legacy issues need to be addressed Despite all the literature on Photoshop we still do not have a digital fine print workflow that facilitates the accurate and intuitive redistribution of luminosity and chro
32. Layers Adjustment Layers Channels and hand tools such as the Blur Brush Clone Stamp Gradient Healing Brush History Brush Paint Bucket Pen Sharpen and Smudge Tools Also Curves andother commands not used as an adjustment Layer can be Edit gt Fade at 100 on many Blending Modes The Dodge and Burn tools can t 7 Only Bruce Fraser and Dan Margulis do not expound the technique of blending on luminosity to eliminate colour shifts Fraser regularly mentions colour shifts resulting from the use of curves and levels but does not propose Luminosity Blending as a solution Dan Margulis makes extensive use of blending modes and doesn t question the resulting colour shifts 8 Dan Margulis was one of the first three individuals and the only writer to be named as a member of the Photoshop Hall of Fame Scott Kelby President of National Pssociation of Photoshop Professionals describes Margulis as the world s leading expert on Photoshop color His book Professional Photoshop is considered to be the bible on color correction and digital prepress as quoted on the back cover of Professional Photoshop Margulis 2007 9 The literature of Photoshop is almost completely silent on this matter No author makes any claims about this or even notes the Page 122 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT 10 11 12 reduction of an RGB triplet to a si
33. Media settings and assign its properties to the Pagesetup If a job is submitted to the Pagesetup without a specific Media the job will output using these default Media settings e Output Settings e Antialiasing Choose from 2x2 3x3 4x4 or None Antialiasing is designed to smooth jagged edges and is used when the Output does not have sufficient resolution to display edges smoothly The values increase the amount of pixels used for Antialiasing The default setting is None e Priority Assign a priority to a Pagesetup The higher the number the higher the priority Numbers can be negative for a higher priority The default is 0 Jobs waiting to Image or Render will process through a higher priority Pagesetup over jobs submitted to lower priority queues Page 245 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT e Auto Publication Name Create unique publication names for each job passed through the Pagesetup Use this feature for duplexing from PDF or PS files Submitting a multi page document as one job will allocate all pages with the same publication name e 16 Bit Processing Enable or disable 16 bit processing for jobs submitted to the Pagesetup Note Megarip V5 is able to accept files submitted in a 16 bit format The files are normally processed and rendered in standard 8 bit colour which for many workflows is sufficient for proofing 16 bit processing im
34. Megarip is a high speed raster image processor RIP capable of accepting a variety of file formats such as Postscript Level 3 PDF TIFF JPEG PNG Scitex CT and EPS It is used to proof post RIP data to either an output device such as an Inkjet printer or to a file format such as PDF Serendipity Megarip runs in a Server and Client configuration The Server runs on a computer on the network and is protected by a USB dongle The dongle licenses the level of software and the input filters and output drivers purchased The Client can run on the same computer on the network whether it is local LAN or remote WAN The Client connects to the Server using the standard network protocol TCP IP and is used as the configuration tool and monitoring application to the Server The Client is not licensed and can be run multiple times on the network Jobs are sent to Serendipity Megarip in a variety of ways to suit your workflows Printers can be published on the network in order for jobs to be printed from your usual desktop applications Hot folders Drop Folders can be shared where files can be copied or saved for processing Files can also be submitted directly from the Client or drop zones can be created for dragging and dropping files in Once a file is submitted it is spooled into the system the file type is detected and it is passed on for processing Imaging is the first process to take place Imaging interprets the file format and sa
35. PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Available Media 343 Linearisation History 343 Measurement 344 Advanced Options 344 Densitometer Spectrophotometer 346 Curve 346 Show Charts 347 Chart Types 347 Yule Nielsen Number 348 Maximum Densities Override 350 Pros and Cons 350 MONITORCALIBRATOR 352 Options 352 SOFTPROOF 355 File Menu Options 356 SoftProof Settings 356 View Options 357 Press Configuration 358 Navigator Menu 358 View Menu 359 Tools Menu 361 The Channel Viewer 362 Channels 362 Notes 364 Publications 365 Page Navigator Panel 366 Effects 367 InkKeyViewer 368 Contextual Menu Options right click 371 SPECTROPHOTOMETER 372 Options 373 Measured Loaded Set Panels 373 Export Menu 374 STUDIO 376 Submitting a Nest or Tiles 377 Nesting 377 Cloaking and Nesting with Large Format Flatbed Devices 378 Tiling with Media 379 Menu Options 379 Studio Menu 379 Edit Menu 381 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Frame Menu 382 View Menu 384 Layout Area 385 Loading Stored Templates 385 Positioning Assets for Nesting 385 Frame Resizing 386 Cropping Assets 387 Asset Panel 388 Property Panel 389 Document 389 Activating Tiling Mode 390 Content 391 Template Panel 392 APPLICATION MENU ITEMS 394 Submit Files 394 SUBMIT FILES AS ASSET 397 SUBMIT ICC TARGET 397 TEST PRINTS 397 CONNECT TO SERVER 397 ACCOUNTS ADMIN 3
36. Project application Using the example image and the Adjustment brush make two separate localized corrections to the photo First burn in extra detail to the lower left part of the picture and the back of the pig by painting in negative Exposure Next use the Auto Mask to isolate the blue shirt area on the subject on the right and reduce the saturation of the shirt Try switching between Add and Erase modes to fine tune the areas being adjusted Page 496 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT GRAYSCALE CONVERSION AND TONING STEP 9 At this point the example image has been adjusted both globally and locally and if we wanted a color outcome we would apply some sharpening and noise reduction see Step 11 and then output the file see Step 12 but in this instance the end result is a split toned monochrome So the next part of the process is to convert to gray and then we ll tint the photo with separate colors for highlights and shadows HSL GRAYSCALE Drawing inspiration from the type of features located in Lightroom the options in the HSL Grayscale pane O44 25040210 provide control of the HSL Grayscale Hue Saturation and i Luminance of each color Convert to Grayscale group red orange i yellow green aqua blue purple and a magenta independently Oranges ra Yellows This is a great improvement
37. RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT SCREEN PRINTING The Screen Printing functionality within the Media data type is designed for printing film separations on an Inkjet printer Files submitted for processing are separated into individual plates Each plate is printed as a black separation with a halftone dot applied at the colour s respective screen angle Printing to film generally requires the output density to be higher than that for normal proofing Higher densities are achieved by increasing the print resolution or by assigning one or more inks to be laid over the black dots CONFIGURATION The configuration is very similar to a standard setup to print toa device The Output configuration is the same and the appropriate Media and Pagesetup s are created to control the page parameters A very basic Paper Profile and Linearisation are also created to complete the setup OUTPUT CONFIGURATION The Output for the printer is set up normally An Output Driver is assigned Destination Driver selected and Collating options are enabled if required Once the Output is created the Media configured for screenprinting see below should be assigned so only screen print separations will print to the film MEDIA CONFIGURATION e Output Driver Select the driver as set up in the Output created for the screen printing configuration e Resolution Choose an appropriate resolution A higher density can be achieved
38. Set chooser to select a pre defined set or create a new one Important Note For multicolour profiles to work the same Page 251 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT colour names used in the ICC must be created and be in the same order The order for the ICC is specified during ICC creation This is independent of the actual press order Change the order by dragging the colours around the set The order is specified as the Colour left column order descending e Upload ICC This is available on all of the ICC choosers If the ICC profile is located somewhere other than the default ICC folders use this function to upload it to the Server ICC folders in order for it to be used As this is a Client side option use this function for moving ICC profiles from the machine they were created on to the Server This can be either on the LAN or WAN as a remote machine e Print Calcheck Select this to attach a calibration strip to every job passing through this Pagesetup e Device Choose the device used to measure the strip with This creates the chart for the correct device e Chart Choose the chart for use from the popup window of Calcheck Charts Note The Calcheck Chart is a Data Type in the Workbench This is where the chart is created Use the Calcheck application to measure it and produce a report COLOURKEYS This module allows for the merging of some pla
39. The continuous world has always been photographically rendered into discontinuousness only to be reconstituted as a continuous illusion on smooth surfaced papers Perhaps it is the regularity and repeatability by which digital technology posterizes the world that emphasizes this act and encourages accusations of a tack of individual character and qualitative differences Leggett 2000 While the darkroom connoisseur could immediately identify the material personality of Kodak TriX film developed in 1 76 developer at a specific dilution time and temperature especially when enlarged to the extent that its granular structure dominated the image we are also beginning to identify artifacts and renderings peculiar to digital media We are in the process of developing a new aesthetic of square grain and digital artifacts where digital reproduction though based on sameness repetition and simulation nevertheless represents difference Page 78 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT While the convergence of technology means that the same keyboard keys can be used to script automated processes or trigger image editing sequences distribute images worldwide or write a letter of resignation it also represents a convergence of labour And while advertising slogans remind us to work smarter not harder Microsoft 2000 know artists who have given up photography
40. This may not be the colour perceived but the contents making up the colour are recorded and the colour is calculated and shown e Density The density value for the colour This is the highest density read from C M Y and K It shows the density of the colour stated in the Colour column e Cd Md Yd Kd The C M Y and K densities of the colour read e Dot The dot percentage of the colour shown in the Colour column Page 329 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT e C M Y K The C M Y and K percentage values for the colour measured If any of the 96 columns are blank the reference paper white or solid density for that colour has not been measured EXPORT Export the values from the Colour List to a file The available options are e All Saves all entries in the list e Selected Save the selected entries in the list only Selecting either of these options displays a window to choose the values to be saved The choices are e Name Save the name of the colour e Colour Density The highest density reading regardless of colour e Cyan Magenta Yellow Black Density The density reading of the chosen colour For e g if Cyan is selected the Cyan density for each reading is taken This is the value displayed in the Cd column of the list e Colour Percentage The percentage reading of the highest density read as displayed in the Dot
41. Where there is some change a line will appear between points Dot History Plots the date of the measurements on the X axis against the dot percentage on the Y axis Page 34 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT The points on the chart represent the patches For any patch the effective dot and how it varies across the history is shown Dot Patches Plots the patch number along the X axis against dot percentage on the Y axis A diagonal line from 0 to 100 is shown as a guide to a linear curve This is graph w will show if the patches are generally higher or lower than a linear measurement as well as differences over the course of time Dot Delta Patches Plots the patch number along the X axis against the dot percentage delta on the Y axis It shows the percentage difference from the target For example if the target is 40 and the measured value for that patch is higher or lower the error is shown in the graph YULE NIELSEN NUMBER The Yule Nielsen Number is essentially a fudge factor applied to the standard Murray Davis formula used when calculating dot percentage area from density The value is used to compensate for various media types as some react differently to others in the way a dot will spread on a particular media and thus affect the dot percentage value It is sometimes helpful to change the YN number and some m
42. a colour editing window to edit the selected colour for the current SoftProof instance only The edits are not stored in a library Apply a Replace Colour Set Select a Replace Notes Hide Notes Type 4 Text Modified Created user Growp Imaged Check colour 24 03 09 11 12 24 03 09 admin admin Page 363 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Colour Set to apply to the job Any plates matching the set will be replaced e Revert All Plates to g Press Settings p Changes all plates back to the press configuration currently selected NOTES Notes gives users the ability to draw a text box on the imaged or rendered SoftProof to make a note The note is attached to the job file and remains attached until it is either deleted or the job is removed from the system There is no limit to how many notes can be created and they can be shown or hidden as required Notes cannot be attached to files opened in SoftProof via File Menu gt Open Files The file needs to be submitted as a Megarip job before any embedding of notes can take place When creating a note with the Note Editor a configurable arrowhead pointer option is available along with the existing area marker for a more precise commentary on the job The User and Group of the note creator are also displayed see Secure Mode Notes can be edited or the pointer adjusted by double clicking on th
43. accurately view the results of your changes until you return to the RGB model McClelland 1994 p 131 This prophesies the problems we face today Where as Live Picture edited in the HSV RGB and CMYK colour models Photoshop edits in RGB Lab and CMYK The tristimulus three channel colour spaces vary greatly with Lab often referred to as the least intuitive because it isn t based on amounts of things we can understand readily like RGB or HSB Blather 2006 p l35 though it remains Photoshop s only unambiguous colour nomenclature But even the psychologically perceptive FISE notation is not ideal because colours that appear very different can have the same saturation and brightness percentages We know from the CIE luminance coefficients that quantify empirical observations of the red yellow green ryan blue and magenta primaries appearing as lighter or darker colours though they are all represented by 100 saturation and 100 brightness in HSB notation The values on a LUMA Curve for these primary colours are So we are forced to conclude that despite their names and descriptions the Color Hue and Saturation blending modes do effect a change in saturation because the inherited brightness of the underlying layer shifts the ratio of red to green to blue light in the image which by definition equals a shift in saturation The question therefore becomes what Photoshop work arounds are possible that will enable the inde
44. and efficiency of analogue photography There were three parts to this investigation the electronic replication of my analogue masking and editing procedures an evaluation of the processing efficiency image control and print quality gained or lost by electronic processing and the appropriate packaging and dissemination of my findings so that other artists could apply them to their own work This investigation was also focused and circumscribed by e Critical material distinctions between analogue and digital photography e A desire to preserve the sequential methodology and conceptual advantages of my fine art photography image editing workflow e The broader cultural artistic and personal debate that defined digital photography as a threat to traditional values confidence and priority The first critical distinction is that analogue photography is a journey whose exploration continues in the darkroom where buried or previously unannounced pictorial effects are developed For example enlarging makes visible the hidden structure of film and making its granularity visible is often considered to add value to the image In contrast digital photography always demands its destination final scale is determined before the exposure is made because unlike the connoisseurship of film grain the over enlargement of a digital file pixellates into uniformly undifferentiated squares Definition is lost not added as the digital process
45. and burnt file were being made to processed pixels not the virgin captured pixels of the original file The red areas indicate some of the masking involved in the application Sik of local correction to this image You can preview the adjustment areas by holding the mouse cursor over the pin icon used to indicate the starting point for the adjustment or selecting the Show Mask i option in the Adjustment Brush pane 2j In the last couple of releases it is possible to perform localized corrections as opposed to global ones directly inside the program More important is the fact that these corrections are applied in the same non destructive manner as all other alterations in the program in other words the changes are made via a series of parameter settings which are stored in an associated file and are used to create a preview of how the Raw file would look with the settings applied It is this processed preview that we see in the ACR preview and Bridge Content and Preview panes The primary Raw file is never converted to a non Raw format except when exporting or opening in Photoshop and as the enhancements are simply a series of stored settings the file can be restored to its original appearance at any time n features are contained in the ACR toolbar Two new local correct the Adjustment Brush shortcut key K and the Graduated Filter shortcut key G Page 492 of 503 FINE ART PHOTOGRAPHY POSTG
46. any waiting jobs will be nested into a single job Maximum Jobs Specify the maximum number of jobs in a nest If there are more jobs in the queue than the number specified that number of jobs will nest and the remaining jobs will stay waiting to nest until the criteria is met again Media Width Specify the media width This is required for nesting to work Gap Between Jobs Enter the size of the gap between jobs in the nest Minimum Total Height Specify the minimum total height of a nest ie if the combined height of the jobs waiting to nest reaches this value nesting will begin Maximum Total Height Specify the maximum total height of a nest ie if the combined height of the jobs waiting to nest reaches this value nesting will begin Note If a Maximum Height is set the Nesting algorithm will look at all the jobs waiting to nest and fit the most jobs between the minimum and maximum heights If the available jobs can not cover the defined Paper Coverage if set of paper without exceeding the maximum height jobs will not nest If no Paper Coverage minimum is set any job that would make the nest exceed the maximum height will be left in the queue the other jobs will be nested Any single job exceeding the Maximum Height will also not print If a job is too large either the nesting parameters and or the printing media but be changed This Page 242 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPM
47. archive file Alternatively right click and select this option from the contextual right click menu 3 Select Save Archive and choose an appropriate location to store the file 4 If you need to import all or part of the database after the V5 upgrade install 5 Open the Archiver application Select Open Archive gt Add to Database and choose the items to add or add the whole archive 7 For further information see the main Archiver section within this user manual D SAVING THE V4 DATABASE AND ICC PROFILES Another recommended method is to backup the Database and ICC profiles by copying them to another location before upgrading Page 186 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT The Database items are held in a folder called defaultss dbd in the following locations Macintosh Windows Linux Sun SGI Applications Serendipity Megarip lib defaultss dbd C Serendipity Serendipity Megarip lib defaultss dbd bmagic lib defaultss dbd ICC Profiles can be found in the following locations Macintosh Windows Linux Sun SGI If you make a backup of these files you can restore them if the upgrade has any problems Applications Serendipity Megarip lib ICC C Serendipity Serendipity Megarip lib ICC bmagic lib ICC USING THE DATABASE FROM V4 The third method for upgrading and preserving the existing configurations is to make a fresh install in a new
48. are e Name Enter a name for the Host setup e Hostname IP Enter the Hostname or IP address of the computer the user will automatically connect to e Automatic Login Disable or Select a User from the dropdown list Only one user may be selected per Host setup ACTIVATING SECURE MODE Secure Mode should be activated after any users and or groups have been created Only an administrator or member of the admin group can activate or deactivate Secure Mode To activate e Select Application menu gt System Settings e Click on the Server tab gt General tab e Tick the checkbox at the bottom of the screen Secure mode to activate or deactivate e Click OK and close the settings when done e factivating Secure Mode a login window will appear as soon as the System Settings window is closed Page 405 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT If Email Notifications are setup for users e Enter the mail server details in the Mail Server field This is the outgoing SMTP server e Enter the email address for the Sender From field of the email in the Sender Email Address field Page 406 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT SYSTEM SETTINGS The Systems Settings section contains default values and preferences configured for the Server and Client The settings are split into two 2 tabs
49. as the L lightness and a amp b chroma channels in a LAB file separate tone from color The same changes burning in the sky and grass in Lab mode using the Lightness curve result in similar outcomes rE Mes P Grass L 73 a 10 b 26 Sky L 77 a 6 b 27 The sky and grass were burnt in until the sample points reached the same value as in the RGB files The a b chroma in the files did not change only the lightness value This indicates that the Burn and Dodge Tools are working on the L curve as they did on the RGB curve in the RGB example Blending on Luminosity does not alter the result L However when the equivalent HSB values are extracted it is a different story Original Grass Hue 35 Saturation 34 Brightness 75 After Burning in Hue 35 Saturation 55 Brightness 37 Original Sky Hue 217 Saturation 30 Brightness 92 After Burning in Hue 217 Saturation 36 Brightness 72 The saturation is still changing and disproportionally Page 102 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT to brightness Luminosity blending the Burning in makes no difference The HSB numbers and RGB numbers are device dependent and therefore are not the same numbers as in the original RGB file which was in sRGB but represent the same colours and LAB numbers Editing the Lightness channel is akin to an RGB curve blended on Luminosity The appearance is simil
50. at all Caponigro 2000 while others explain specific modes in unnecessarily confusing ways These blending modes will affect the original image by using either the hue saturation color or luminosity of the blend color pattern or image as the hue saturation color or luminosity of the original image the base cob Haynes 2004 P 345 Ben Will more devotes the most extensive coverage a whole chapter to blending modes lie believes blending modes comprise one of the most powerful features in Page 115 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Photoshop Willmore 2004 p 542 The Hue Saturation Color and Luminosity blending modes promise a great deal Hue Hue creates a result color with the brightness and saturation of the underlying color and the hue of the overlying color Saturation Saturation creates a result color with the brightness and hue of the underlying color and the saturation of the overlying color Color Color creates a result color with the luminosity of the underlying color and the hue and saturation of the overlying color Luminosity Luminosity is the inverse of Color It creates a result color with the hue and saturation of the underlying color and the luminosity of the overlying color Blather 2006 p 356 357 The hue is the easiest quality to protect and edit independently of brightness and saturation The master hue slider in the H
51. being used by anything else The port numbers for the node are as follows Page 438 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT e 9103 tcp Server connects here and submits jobs via this port e 9103 udp Listens to broadcasts so the Server can enumerate available Node Servers e Make sure the node is the same version as the Master Nodes Megarip Slaves should always be upgraded at the same time as the Master PRINTING TO A WINDOWS PRINTER Here are some suggestions of where to look if you run into trouble and experience problems when printing For all of the methods documented in this guide test each step to see where the problems arise For example when a printer is created try printing a test page PRINTING FROM MAC TO WINDOWS When printing from a Mac to a shared Windows printer there are a couple of utilities available to verify whether or not the printer is installed correctly and working These are The CUPs printing system on the Mac has a web interface that lets S htp itocalhost 631 7 you view and test printers To access this do the following 1 Open a web browser and enter the following address http localhost 631 a This will connect 0 emm mmn mm oed I to the local print m ERE NIS system cas ewa 2 Choose Manage Printers and the list pee orent B i ON x 2 ERI em a SE
52. by the Bradford algorithm of chromatic adaptation Gamma in the sRGB space is given by a function approximately equal to a simple 2 2 gamma curve Green is weighted ten times more than blue and three times more than red in the calculation of luminance 3 This assumes that the rendered environment is illuminated by a single light source and without Page 171 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT reflected secondary colour casts in the field of view 4 Photoshop does not operate in 16 bits 65 536 but 15 bits 32 768 levels for the sake of efficient data processing This is more than enough bit depth to ensure accurate luminosity transformations ee 5 inmsim 2 meam R 155 D v 32760 H e AC 255 A ox AC 32768 AS 255 100 e 376 100 8 va 16 bit Photoshop CS2 9 8 bit and 16 bit info palettes 5 The mid point of the sky s tonal range 107 was anchored and darkened This also separated the sky into two tonal ranges shadows with lowered contrast and highlights with increased contrast Three anchor points locked down the darkest shadows in the land while midtone separation was increased Two additional anchor points maintained the original contrast of the brightest sky highlights as they were lightened 6 Carter characterises material thinking as what occurs in the making of works of art It happens when the artist dares to a
53. changes were locally painted into the duplicate image layer at 100 opacity as shown in the Preview The effect selectively lightens and warms the skin tones the lighter tones receding while the warmer hues come forward increasing the tension drama within the figures family and between the figures and the ground surrounding world Page 46 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT STAGE 3A Global colour mood correction The third stage of the workflow involves resolving the Colour Composition In the analogue print had created an enveloping choking cyan blue mood that bound the figure ground relationship into claustrophobic coherence Despite desires to the contrary this family is inextricably trapped by their surrounding fate Despite our hopes and dreams they are doomed Hence the image s title The poverty of desire Page 47 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Before and After Colour Correction Layer Adding a Color Correction Layer allowed the overall colour composition to be easily balanced If subsequent stages of the workflow required modifications this Layers contribution can be revisited and refined This philosophy and procedure are very similar to my generic Type C Masking techniques whose effects through changes in exposure can be refined from print to print
54. colour ensures the relative colour appearance and brightness order of objects and scenes are maintained through a range of transformations without inheriting unpredictable errors that subsequently need to be Page 133 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT corrected This improves workfiow efficiency and productivity It also improves accuracy therefore predictability and so the artist s confidence in their materials and tools can begin to develop into a mature working relationship This also encourages the ability to dream digital outcomes into works of art and parallels a traditional material consciousness A clear and sober view of the conditions of one s task makes it easier to find a form exactly adequate to one s thoughts and feelings Tarkovsky 1986 p 95 And so the discovery of a method becomes the discovery of someone who has acquired the gift of speech And at that point we may speak of the birth of an image that is of a revelation Tarkovsky 1986 p 103 Predictable collaboration between creativity imagination tools and materials describe the poetics of material thinking Carter 2004 Editing luminosity on a Lummosity Curve ensures any anchor point locks in place its value irrespective of how other parts of the curve are edited Even the most problematic and difficult to predict points on an RGB Curve such as the dark gree
55. colour space But since Live Picture s commercial demise in 1999 RGB applications like Photoshop have totally dominated the market But Photoshop doesn t always operate as expected or predicted Therefore it needs to be fixed if we are to achieve the same image editing controls and workflow confidence that we took for granted in the analogue darkroom and with an application like Live Picture NOTES 1 Evangelists and Ambassadors are the titles bestowed on selected individuals hired by software companies such as Adobe Inc to promote their products usually via publications including books CDs pod casts and blogs They also make personal appearances at trade fairs Page 120 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT conventions festivals and industry conferences but are not sales representatives Photoshop World Las Vegas is The ultimate Adobe Photoshop Experience The conference brings together photographers designers artists educators motion graphics designers and Photoshop users of every kind for a three day Photoshop love fest of training learning and fun It includes a Photoshop Hall of Fame Guru Awards Professional Portfolio Reviews and master classes with a hand picked team of the industry s most talented and creative instructors Adobe 20074d 2 An 8 bit monochrome image can display a maximum of 2 8 256 levels of brightness whil
56. displays the whole job in the viewer and changes the ink keys to show total ink amounts for the job Ink Weight Calculator Use this to calculate the amount of ink required to print x number of copies Print Run Size How many to print Ink Weight g m2 Enter the weight of the ink used in grams per square metre Page 369 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT e Calculate Based on the values entered for ink weight and print run size the total weight of ink for each colour can be calculated for the job loaded and displayed in the ink value area Page 370 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT CONTEXTUAL MENU OPTIONS RIGHT CLICK Show Ink Key Table Shows a preview listing the ink key values of all keys for each plate These can be printed using a local printer if required or exported to PDF Export Tab Delimited Exports the values for the keys and ink values to a tab delimited text file Close Close the InkKeyViewer Page 371 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT SPECTROPHOTOMETER The Spectrophotometer application allows for the measurement of colours with a Spectrophotometer The accuracy of the measured value can be viewed against an imported value when mapped through a selected ICC profile defia 5 ME heroe all va
57. dongle The selected driver affects the options made available for Resolution and Colourspace e Resolution Select or enter the desired resolution DPI If the output is a printer only the supported resolutions are available If it is a file format your own value can be entered e Colourspace Select the output colourspace as desired The selections will change depending upon the chosen output driver e Media Width Length Sets the width and length of the Media Only jobs submitted with a width and length equal to or less than the assigned values will be printed Jobs of greater width and length will be held in the QueueManager until an appropriate Media or new width and length values are assigned Note Media Width Length values Page 227 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT override the width length settings in the Nesting section of the Output meaning jobs will not nest or print until within the width length settings of the Media to which they were submitted e Cut Sheet Enable this if the Media being printed to is Cut Sheet The media to be used is selected from the dropdown menu e o Total Sheets Enter the number of cut sheets loaded in the printer Jobs will stop printing to the Media and be held in the QueueManager when MediaStatus has tracked that the assigned number of sheets have been used A Total Sheets value of zero 0 assumes an unlimited sh
58. embedded profile and therefore no color conversion is needed Areas of special interest when evaluating the image The gray scale at the eo Color Management Eten a5 Z QD bottom should be BE Go 7 7 9 evenly distributed and FEREN Monitor Profile Destination Pri you should be able to For camera Hase One HE see the transition SEITE s between 100 to 95 and Bf Oniy show recommended profes 5 to 0 The field in the lower right color of the colorchart should be deep red burgundy Details in the black hat of the lady in the lower right corner should be visible Look at the fruit and vegetables in the top and judge if it looks like natural colors Skin tones of the portraits should look naturally Finally the details in the waterline along the ship should be visible SETTING UP CAPTURE ONE COLOR SETTINGS In the Capture One Software e Select Preferences from the Capture One menu e Select ColorSync and setup which camera back and light source you use Page 456 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT If your ColorSync System preferences is already setup there is no need to set up more For instructions on how to use color management inside the software please consult the Capture One User Guide COLOR MANAGEMENT FOR WINDOWS SETTING UP THE HARDWARE THE CAMERA Every Phase One camera back is calibrated before it leav
59. enabled the printer will print a nozzle check pattern to verify all print nozzles are clean and functioning Nozzle Check When enabled the printer will perform a nozzle check After printing Linearisation Chart When enabled the printer will print a nozzle check pattern immediately after printing a linearisation chart If the pattern is incomplete the print head will need to be cleaned and the chart reprinted ICC Chart When enabled the printer will print a nozzle check pattern immediately after printing an ICC Target Chart If the pattern is incomplete the print head will need to be cleaned and the chart reprinted Calcheck Settings Specify the Calcheck Chart to be printed when the above Calcheck option is enabled Note The Calcheck Chart will only print if there is a valid Media attached to the Output via the Change Media button Pagesetup Select the Pagesetup to use when processing the Calcheck Chart maintenance option PAGESETUP A Pagesetup consists of many configurable modules to manipulate a job for the desired output This is where the Input Page 244 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Screening and ICC Profiles Render Effects Colour Keys and other Colour Management options are setup OUTPUT e Change Output Selects the Output method and assigns its configured properties to the Pagesetup e Change Media Select the default
60. even advanced users further mystifying how each tool is actually effecting the image Anecdotal evidence and hearsay all too often dominate the literature on Photoshop while promotional strategies rarely address these issues Even metaphors are recycled such as We liken Levels to an automatic transmission and Curves to a stick shift t3latner 2004 p 242 Blather 2006 p 241 and 1 find that the majority of Photoshop users never truly master Curves just as some people never drive cars with manual transmissions Willmore 2004 p 208 There is the repeated intoning that understanding how Levels and Curves work and how to operate them is essential for mastery of Photoshop and therefore digital imaging For example David Blather and Bruce Fraser in Real World Photoshop CS2 state Levels and Curves aren t always necessarily the easiest way to correct tone but until you re learned what they can do you just don t know Photoshop p 234 Mastery of Levels and Curves is key to being productive in Photoshop and Page 92 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT these two tools can help you solve many image problems p 294 You mast master Levels Curves and Hue Saturation to consider yourself any kind of Photoshop user p 31 1 The qualities universally accepted and never questioned are that changing contrast in an ROB image also changes saturation but blending contr
61. even given away their cameras and moved onto more physical and tactile mediums They still host a home page but make a clear distinction between their home page as advertising and their physical object based art Their most common complaint remains that digital photography is no longer a physical or tactile experience This reminds me of the 19th Century debates over the role of photography as reproductive technology versus artistic medium and the misconceptions and fears expressed at the time Handy 1994 There arc also parallels with photographers like Frederick Evans 1853 1943 who used modern photographic technology to beautifully render ancient monuments but stopped photographing when his preferred medium of platinum printing was commercially discontinued In a sense he had also already become someone not of his time Perhaps that is part of the challenge facing contemporary artists especially when photographic films papers and chemistry freely in use at the peak of the craft of photography are becoming increasingly difficult to obtain Once upon a time photographers were also characterised by how well they adapted things They always seemed to be twisting or screwing or gluing or welding some thing to another thing because they had to However by the 1970s we had already developed the basis of an alternative photographic practice counter to the technical orthodoxy of a process driven Page 79 of 503 F
62. fears which radical technological change tends to generate amongst the practitioners of a traditional medium Wells 2000 p 305 It should not be under estimated the intense crisis that digital photography provoked for some artists The loss of photography s traditional craft emphasis together with postmodern photography s oppositional stance on the nature of language power and representation the art market s contradictory focus on originality and genius and the virtual silence on the conditions and possibilities of digital picture making created a crisis of confidence These material practical cultural and personal concerns both guided my research methodology and mitigated the migration of my analogue fine art photography work flow into a fine art digital photography workflow beginning with Live Picture Page 41 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT STAGE 1 The original B amp W negative was digitised on a drum scanner as a 412MB ROB file 1016 mm sq 300ppi 8 bits channel converted into Live Picture s propriety IVUE file format inserted into a new document and saved as the first iteration FITS 1 All subsequent edits occur on separate layers overlaying the original image layer Live Picture s cropping tool is identical to a traditional four bladed print masking easel in the darkroom That is the image is only covered not permanently cropped
63. for SoftProof in Lines Per Inch LPI The default is 150lpi PRESS CONFIGURATION Select a Press configuration from the database to be applied to the loaded job and for all subsequent jobs opened in SoftProof The results of the press settings can be seen on the output job and should match the printed copy An information window shows the settings of the currently loaded press setup Press configurations are managed in the Workbench and contain information such as size number of keys and colour information NAVIGATOR MENU The Navigator is a small preview window showing the whole job irrespective of the zoom level of the main SoftProof window When the Navigator is open moving the mouse pointer ZEHSENNEBN inside will display a red box showing the respective area HH E i shown by the main window a m If the main SoftProof FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT window is zoomed in the red box will be smaller than the navigator window size A single click or click amp drag will reposition the main window to show the portion of the image selected The Navigator window can also be used in conjunction with some of the SoftProof tools e Zoom Click and drag to view a particular area and the main window changes to the selected area e Crop Click and drag to mark a crop area Reposition the marked area as desired and crop by pressing Enter do
64. importance that the light intensity is matched with the surroundings A good way to evaluate images is by using light box where the light intensity can be adjusted If the shadow details are less visible on the monitor than on the print adjust the gamma settings with the Adobe Gamma control panel or on a Macintosh with the Apple Displays Preferences Do not change the monitor calibration settings in Photoshop as this will adversely effect the relationship between the Capture One software and Photoshop Save a copy of the PhaseOne CMS checker tif as a CMYK file in Photoshop Open the file and compare it to the print If there is a difference the shadow details between image on the monitor and the print adjust the gamma settings as needed Adjust the gamma settings until the best result is obtained Do not expect 10096 accuracy it is not technically possible given the gamut limitations of monitor and printer The goal is to know exactly how an image will be reproduced on a printer as compared to the monitor If there is significant variation in the color of the printed image when compared to the monitor image then please check the following points Page 463 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Ensure that the monitor is setup according to Phase One recommendations Ensure that the correct printer driver is installed according to the printer manufacturer
65. list of licensed modules in the Queue section Choose a destination driver from the Destination section and enter the appropriate information for e g the IP address of the printer Configure any Collating or Nesting requirements as needed OPTIONAL Once created the Media can be assigned to the Output using the Change Media button This will only allow jobs submitted using the assigned Media to print Refer to the Media section of this manual for more information Save the setup Page 193 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT MEDIA CONFIGURATION In the Serendipity Client select Application gt Workbench Select the Media from the Data Types list and create a new output The name Untitled should be highlighted If not select it type a new name and press Enter This name will appear in the Output and Pagesetup Now configure the Media to your requirements Select the appropriate driver for your printer from the pull down list of licensed modules in the Output Driver section Configure your Resolution Colourspace and any custom settings required Choose your ICC profiles and method of Output Screening to be applied Colour Correction LUT s may also be assigned here Save the setup PAGESETUP CONFIGURATION Once an Output and a Media are configured and saved Choose Pagesetup from the Data Types list and create a new Page
66. materials listed in Kodak s 1997 Professional Photographic Catalogue and Kodak s 2007 on line catalogue available professional film emulsions have decreased from 106 to 20 along with a similar decrease in available sizes and formats supported and 34 print materials to 6 colour papers with no black and white media at all Kodak state in their publication Printing Black and White Images V amp hOU1 KODAK Black and White Papers that For photographers who continue to prefer traditional black and white papers there are still some specialized manufacturers who offer both resin coated RC and fiber base media We recommend contacting your local photo reseller Kodak 2005 Page 82 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT THE PROBLEM WITH PHOTOSHOP The Adobe home page proclaims Welcome to the world of Adobe Photoshop where advertorials from real world professionals showcase the most widely used digital imaging software You are encouraged to Get the digital image editing control you crave Experience the unrivaled power Adobe Photoshop is the software for the ultimate in creative control whether you create images professionally or just want professional results This mantra is intoned over and over again and demonstrated in slick short movie presentations of professionals hard at work describing their joy of digital photography when
67. most likely affect operation for e g Failed to load rendering dll You will normally be required to take action to rectify these errors before continuing e Search Search the log for jobs or messages Enter the text of characters to search for and the ClientLog only displays the lines that match the search DISPLAY OPTIONS The following sort columns can be selected using the contextual right click menu on the sort column header bar in the log e Type The level of the message reported For eg Question Information Warning or Critical e Date The time the message was reported e Source The module or application that reported the message Page 290 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT e Summary A summary of the message that was reported e Command Internal command used to communicate messages to and from the Server by the Client e Error An error code reported by the Server This is useful for de bugging problems e Action The action taken by the user relating to the message For e g the button pressed when the message popped up The order of the columns can be changed by clicking and dragging them to the desired position or by using the Configure Headers option under the contextual right click menu CLUSTERSTATUS The ClusterStatus is a monitor displaying the current Imaging and Rendering status of jobs on any active Master Se
68. nesting When submitted for printing everything on the media sheet is printed If only a width is entered once an asset is placed on the Layout area the media guide sheet will automatically lengthen to fit the job As more assets are placed the sheet will extend to display the total nesting area CLOAKING AND NESTING WITH LARGE FORMAT FLATBED DEVICES One of Studio s primary functions is the laying out of jobs for print using large format flatbed printers When activated via the Studio menu the cloaking feature locks images and frames after they have been submitted as a nest to the printer Cloaked images appear shadowed in the Layout area are static and non editable unless de cloaked This allows for the easy placement and printing of new jobs onto blank areas of the flatbed media Cloaked images are not reprinted when a new nest is submitted If desired it is certainly possible to place jobs over others that have already been printed Any new image prints exactly where placed regardless of whether anything has already been printed in the area Important Note The cloaking feature is turned off by default and is not recommended for use with printers using roll media unless the device has the ability to roll back to previous areas of the media Page 378 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT TILING WITH MEDIA A media width and height must be defined when
69. of gamut cannot be reproduced Adjusts the white point of the media to match that in the input ICC profile Page 250 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Saturation Those colours out of gamut move into gamut but all colours increase in saturation as a result Retain Pure Black When ICC profiles are used all colours even solids are made up of a mix of different colours Selecting Retain Pure Black uses only black for areas containing just black When enabled the following options become available All Uses black ink only in all areas defined as Black Text Uses black ink only in elements defined as Black text This can improve the clarity and sharpness of the text Note This option is not always suitable for use with printers using light black inks as many of these inks tend to have a non RGB ICC Profile Select an RGB Input profile This is used to convert input data from RGB to Lab and should be a scanner or digital camera profile Press ICC Profile Select a Press profile This is a Match profile and is used to convert input data from CMYK to Lab This can be a multicolour profile or CMYK If a multicolour profile is selected an additional option will become available Press Inks Press Inks For multicolour press profiles the plates used in the ICC and the order of those plates must be specified Selecting this option displays a Special Colour
70. of monitor a CRT type monitor Preferably with a Sony Trinitron tube or a Flat Panel Active Matrix TFT Page 452 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Be aware that when calibrating an Active Matrix TFT monitor you have to make sure the resolution is set to the native or maximum resolution otherwise the result of especially gamma correction will be wrong No matter what type is preferred only high quality monitors should be used All newer monitors can be used with ColorSync to ensure correct calibration ColorSync is a color management technology developed by Apple Although there are many methods used to calibrate monitors Electronic devices to place on the monitor monitors with auto calibration features etc Phase One recommends the following simple methods for good results No special equipment is needed CALIBRATION OF MONITORS IN MAC OS X Turn the monitor on and let it reach normal working temperature this may take 30 min e Open the System Preferences available in the Dock or inside the Applications directory e Select the Desktop control panel and from the Image selection popup select Solid Colors Then select the one named Solid Gray The screen background is now set to a neutral gray e Open Displays inside the System Preferences and select the Color tab e Follow the on screen guidelines to calibrate the display and be sur
71. of the following Choose Image gt Adjustments gt Curves Choose Layer gt New Adjustment Layer gt Curves Click OK in the New Layer dialog box 2 Optional To adjust the color balance of the image choose the channel or channels that you want to adjust from the Channel menu To edit a combination of color channels at the same time Shift select the channels in the Channels palette before choosing Curves The Channel menu then displays the abbreviations for the target channels for example CM for cyan and magenta The menu aiso contains the individual channels for the selected combination Keep in ming that this method does not work in a Curves adjustment layer 3 Add a point along the curve by doling one of the following Cick directly on the curve RGB images only Ctri chck Windows or Command cick Mac OS a pixel in the image You can add up to 14 control points to the curve To remove a control point drag it off the graph select it and press Delete or Ctri chick Windows or Command chck Mac OS the control point You cannot delete the endpoints of the Mac OS thvee areas of an to the curve Page 90 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Q ro determine the lightest and darkest areas in an RGB image drag over the image The intensity values of the area under the pointer and the corresponding location on the curve are displayed in the
72. on the right side of the Page View The first alters the angle at which the 3D virtual book is viewed the second zooms the view in and out Note The performance of the page turning may vary depending on the size of the thumbnail being viewed and the performance ofthe graphics card e View as Calendar Only available in 3D mode Changes the flip axis to horizontal so pages flip up and down in the same manner as a calendar e Export Exports the FlipBook as a PDF Select the resolution compression type and quality Choose between exporting the whole book or a range of pages Page 336 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT e Export as Spreads Exports the FlipBook as a PDF but as spreads The same options as above apply e Export as Movie 3D view mode only Exports the FlipBook as a QuickTime movie After selecting this there are three further options e Codec Type Choose the preferred compression type from the menu e Quality Choose the preferred quality e Keyframe Spacing Choose how often a keyframe is saved The settings chosen will affect the size of the movie the quality and the compatibility with other applications There are many Codec types available and not all work on all systems Commonly used types are Apple MPEG4 and H 264 avcl Increasing the quality setting also increases the file size This is also true for the keyframes The more keyfr
73. options are e Paper Select the patch that represents the paper being checked e Cyan Magenta Yellow Black Identify a patch for each colour from a set e Gray Used to identify gray patches in the chart e Generic Most patches are generic and are classified as generic if they don t fall into one of the above types Page 216 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Note When generating patches from an ICC profile the patches are automatically assigned the correct type Page 217 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT TARGET STANDARDS There are three 3 standards that can be used to compare against a proof Ae AH AC These are e AH and AC The first standardBle is always enabled The other two standards must be enabled for the results to appear on the Calcheck To enable select the tab and tick the Target checkbox For each standard specify the limits used for a pass and fail status ForPle you also choose which of thee standards are to be used deltaE CIE94 or CIE2000 Important Note The correct standard to be tested must be selected and saved with the chart Only that standard will be tested for a pass or fail If you want to check another standard you need to change it here and save it again For example if you are checking deltaE and you want CIE2000 you need to change it save and r
74. read by third party ICC profiling software and used to generate the printer s output ICC profile which is then assigned to the Media TEST PRINTS Select one or more Pagesetups and Medias and send multiple copies if desired of internal test prints for processing Note Add your own files to the lib testprints directory for use as test prints Any files you have permission to use that are placed in this directory will appear for selection in the Test Prints chooser window CONNECT TO SERVER This allows the Serendipity Client to connect to a Megarip Server running on the network The Refresh button will search for and display any active Servers Alternatively enter the name Page 397 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT or IP address of the Server in the Server Address field under the Manual tab If there are multiple Servers Masters running on the network the list is cached on the first Connect to Server selection A dropdown list of available Servers is accessible via the Auto Detect tab If a new Server appears after this time the Refresh button must be pressed to find and add it to the list Likewise if a Server becomes unavailable the connection will fail and the list will require a refresh When the Serendipity Client is started it will attempt to connect to the last Megarip Server accessed by default ACCOUNTS ADMIN This menu opti
75. selection list When a Pagesetup has been chosen a list of Media compatible with the Pagesetup will be displayed for selection An active selected Media is highlighted in blue Ifno Media is selected the submitted job s will be output to the Pagesetup s default Media Note The Serendipity Client saves the last Pagesetup and Media selection so it need not be selected every time a job is submitted to the same Pagesetup INFORMATION PANEL This panel displays the settings for the currently selected Pagesetup or Media SUBMIT OPTIONS The lower section of the Submit window has the following options available when submitting files FLOW CONTROL e Hold After Imaging Check this box to hold the job after the Imaging stage has completed Page 395 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT CoPiES PUBLICATION Held jobs can be released to continue processing via the QueueManager toolbar or contextual right click menu Hold After Rendering Check this box to hold the job after the Rendering stage has completed Held jobs can be released to continue processing via the QueueManager toolbar or contextual right click menu Nest Submits the jobs for imaging and rendering then on to be nested with other jobs Nesting criteria are defined in the Output for the Pagesetup Media to which the job is sent see Workbench Output for further information Rotate 90 R
76. server on launch is launched x Restart server on crash Restart Server After Crash Restarts the Server automatically after a crash Start as Cluster Node Allows the Server to run as a slave or node device See the ClusterManager section for further information on Clustering Start in Safe Mode This will start the Server but will not process any jobs or poll any Start as cluster node Start in safe mode Page 199 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT RIPs This is a maintenance mode that allows configuration management if they become corrupt or incorrectly configured Once maintenance is complete the Server must be restarted in normal mode Page 200 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT THE MEGARIP DONGLE UPDATER The Serendipity Megarip dongle licenses the level of software and enables the use of any input filters and output drivers If any additional licenses available for a fee are activated the relevant dongle will require updating with the new strings in order to use the filters and or drivers The Dongle Updater is now a built in feature accessed via the Server File Menu gt Update Dongle option To avoid any abuse of the software the dongle activation strings can only be used once Any updating should be completed by your relevant Server administrator Important Note Befo
77. shows the Calcheck Chart used for the check e Ae AH AC These tabs switch between summaries of the three respective A standards The tabs available depend on which A standards are defined in the chart for the Calcheck The Ae summary values listed are CIE76 by default This can be changed to CIE94 or CIE2000 by setting either as the measurement standard in the Calcheck Chart e Job Media Print mode only The Job or Media being calchecked The field displays N A if a Calcheck is done without assigning a Job or Media to it e Date Print mode only The date and time the Calcheck was completed e Monitor Area Toggles Monitor mode only A 3x3 grid of buttons can be toggled to Page 317 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT DISPLAY PANEL include or exclude the Calcheck results for each area of the monitor in the Calcheck summary Once a monitor area has been calchecked the button will be marked with a tick pass or across fail ACyan AMagenta AYellow ABlack AGray AP aper The A values for the significant CMYK process gray and paper substrate patches are displayed here Pass Fail Displays a green tick pass if all the measured patches fall within the A tolerances as defined in the Calcheck Chart A red cross fail is displayed if any patches measure outside the defined tolerances A Average The average delta of the patches measured in the Calcheck
78. t change when adjacent anchor points are changed Saturation and brightness are bound together in ROB colour spaces and can t be edited independently of one another with curves Photoshop s Dodge and Burn tools therefore also exhibit the same short comings making the efficient editing of images to the highest quality a difficult task Changes to the image that are desired Page 119 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT are also all too often burdened with changes that aren t wanted This prolongs the editing workflow effectively risking image quality through additional and often accumulative quantisation errors and due to the unpredictable behaviour of Luminosity edits makes it difficult for even experienced users to grow accustomed to the program s erratic behaviour so they inevitably remain confused which further contributes to workflow inefficiency Curves and blending modes are sophisticated and powerful Photoshop editing commands but unless their functions can be renegotiated partitioned and redirected we will not be able to develop a sophisticated as opposed to a frustrated fine print editing workflow The irony is that the earliest versions of Photoshop contained both HSL and HSB editing spaces where the RGB data was separated into hue saturation and lightness or brightness which could be independently edited Live Picture also worked in a HSV
79. that appears to be white or highiy transmitting Hunt 2004 p 69 Our understandings of digital images are also moderated by the look and feel of photographs and the typical renderings peculiar to the photographic process Physical gestures like Polaroid edges film rebates 35mm sprocket holes sheet film identification notches and processed edge markings combine with cross processing black and white high contrast low contrast and exposure scale metaphors to confer unique attributes that add value to our pictorial imagination These qualities transfer across and between media from still photography to cinema to MW from computer and console games to eBay Flickr MySpace and YouTube Our dreaming incorporates historical processes salted papers platinotypes van dyke brown sepia toning silver prints the silent dye tinting of early cinema time worn wear and tear scratched fading foxing and other signiflers of the authenticity of our material processes Contemporary archives even debate the classification of dust The limited range of exposure over which Page 167 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT photographic materials produce a response can result in important changes in hues in pictures as exposure level is altered For instance a reddish magenta object normally results in more exposure in the red layer least in the green and an intermedi
80. the same image and the effect this can have on our aesthetic judgement As soon as the image exceeds the dimensions of the screen it is being viewed on we lose an engagement with its totality and therefore also our literal and metaphorical relationship to the image as its physical Object Related to this is an almost universal fallacy of the screen as a softproofing medium rather than as a sophisticated instrument panel and the effect this slippage has on our expectation of the print For soft proofing to be a successful illusion it relies on the displayed image being a facsimile of the final output print or film This can be approximated in terms of adherence to colour and density but not in terms of scale or resolution The physical limitations of the screen compared to the variable scale of our prints intensifies the effect this can have on our gesture and mark making Pixel editing programs through their extensive image editing facilities promise to open up photography like never before but all too often we become outsiders estranged in a moire of in difference However the desensitization of photography as an Page 69 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT attack on the gesture and the mark and our aesthetic judgement does not have to be this violent We don t have to become so frustrated with the digital imaging process Imaging
81. this guide to describe them all in detail fortunately they have many things in common Each system can describe individual colors as well as a range of colors INDIVIDUAL COLOR The relationship between individual colors and ranges of colors are often defined in three dimensions These dimensions have names Hue The name of the color Saturation The strength of the color Neutral gray has no saturation As more color is added to the neutral gray the level of saturation increases Brightness The measurement of light transmitted or reflected from an image The hue of an image may be blue but the brightness can vary considerably A combination of Hue Saturation and Brightness HSB defines an individual color To visualize this three dimensional space imagine a globe with a North Pole an equator Page 449 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT and a South Pole Let us call it the HSB globe At the North Pole everything is pure white no other colors are visible there is maximum brightness Moving southwards towards the equator colors start becoming visible If the globe is sliced in half at the equator each color can be seen as part of a circular spectrum At the core of the globe neutral gray is the meeting point of all colors As the colors move away from the core they become stronger their saturation increases At the surface of the g
82. to select the chart for measuring and initiates measurement on the selected Spectrophotometer On completion results are saved to the Media and previously calchecked Media will be updated e Load Job Select from a list of previously calchecked Jobs sitting in the QueueManager Page 321 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Once loaded complete results of the job s last Calcheck are displayed A new chart can be printed and or new measurements taken and the results updated to the Job Info e Check Job Select any job currently in the QueueManager to be measured This option assumes a Calcheck Chart for the job has been printed It immediately opens a window to select the chart for measuring and initiates measurement on the selected Spectrophotometer On completion results are saved to the Job Info and previously calchecked jobs will be updated e Print Label Print a summary label of the currently displayed Calcheck results to a system printer e Print Report Print a Calcheck report on the job media or chooseto save as a PDF e Page Setup Allows the user to configure the label printing properties for the Print Label option above Page 322 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Show Graph Displays a representational graph of the Ae for each patch of the currently loaded Calcheck
83. tune to play along to or teaching someone to draw without reference to what is being drawn wouldn t make sense Kimon Nicolaides believed drawing has only to do with the act of correct observation through physical contact with all sorts of objects through all the senses Nicolaides 1941 Ruskin s organic Law of Help also placed the whole person and their experience at the centre of understanding and attainment Davis 2005 John Ruskin s 1857 Elements of Drawing which is still in print also features his own line drawings illustrating his instruction techniques and strategies Ruskin 1971 But photographic literature apart from notable exceptions like Mortensen or Ansel Adams Basic Photo Series have tended to not be written by artists and are not illustrated with the author s images In the case of manufacturers manuals the author is usually transparent and rarely named or acknowledged in any way This produces a gap between photographic theory and photographic practice in the literature Technicians make the materials and write the instructional manuals while photographers use these tools to create the photographs Documentary photography whose tradition is based on the assumption that the camera Objectively and transparently presents the reality it is focused on legitimizes or perhaps even establishes this distance between theory and Page 25 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOP
84. video in which color management is still in its infancy HARDWARE CHARACTERIZATION See also ICC profile In order to describe the behavior of the various output devices they must be compared measured in relation to a standard color space Often a step called linearization is performed first in order to undo the effect of gamma correction that was done to get the most out of limited 8 bit color paths Instruments used for measuring device colors include colorimeters and spectrophotometers As an intermediate result the device gamut is described in the form of scattered measurement data The transformation of the scattered measurement data into a more regular form usable by the application is called profiling Profiling is a complex process involving mathematics intense computation judgment testing and iteration After the profiling is finished an idealized color description of the device is created This description is called a profile CALIBRATION Main article Color calibration Calibration is like characterization except that it can include the adjustment of the device as opposed to just the measurement of the device Color management is sometimes sidestepped by calibrating devices to a common standard color space such as sRGB when such calibration is done well enough no color translations are needed to get all devices to handle colors consistently This avoidance of the complexity of color management wa
85. was still emphasising that A photograph is not an accident it is a concept It exists at or before the moment of exposure of the negative From that moment on to the final print the process is chiefly one of craft The common term taking a picture is more than just an idiom it is a symbol of exploitation Making a picture implies a creative resonance which is essential to profound expression Adams 1944 p 12 13 David Vestal published his influential The Craft of Photography in 1975 Vestal 1975 and over twenty years ago The Art of Black and White Enlarging stating that Craftsmanship is emphasised along with the perceptive seeing feeling and thinking that distinguish good personal printing 1mm impersonal skill Vestal 1984 pix In 2000 the second edition of The Darkroom Cook Book featured on its front cover a black amp white still life photograph of chemical bottles packets measuring spoons scales and beakers A book of formulae and recipe like techniques it is meant to be a point of departure for creative photographers to create a unique signature of their own It is also meant to be a potpourri for photographers who just want to play with their craft Ancheil 2000 pix Today our cultural consciousness is dominated by electronic processes but digital photography and especially digital fine print making has yet to be valorised or mythologised as an esoteric craft Page 76 of
86. with the data supplied from a weak histogram The result is a transition between color or tone that is visible as a series of steps in the final image A SMART SOLUTION By opening a Raw file as a Smart Object Open Object hold down the Shift key if this option is not visible or better yet set as the default opening action in the Workflow Page 483 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Options dialog the user can open a Raw file in 8 Bits Channel but keep the integrity of the histogram by returning to the ACR dialog box to make any large changes to hue saturation or brightness luminosity values Though working with 16 bits per channel is always preferable with some filters there is only the option to apply the changes to an 8 bits per channel file WHITE BALANCE STEP 5 As we saw in the last chapter the first step in optimizing the color and tonal values for the color space we have chosen to work in is to set the white balance by choosing one of the presets from the drop down menu Remember that there are three approaches to setting white balance Select a preset White Balance option based on specific lighting sources Daylight Cloudy Shade Tungsten etc e Manually adjust the Temperature and Tint sliders to remove any color cast present in the image or e Alternatively you can simply click on the White Balance eyedropper in
87. without invalidating the original concept Page 48 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT STAGE 3B The family s terror and fu tile struggle against fate needed intensifying Their identities and relationships already created through redistribution of the image s Tonal Composition could now be reinforced by local shifts to its Colour Composition Page 49 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT A second Color Correction Layer was added so that its effects could be locally incorporated into the image without shifting the overall mood established by the first Color Correction Layer A subtle but sufficient 6 levels of green was removed from the highlights This slightly warmer blue was selectively painted into the figures not the ground so as to increase their presence dimensionality and therefore heighten the tension between their frozen immobility and our desire for them to flee and survive Page 50 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT STAGE 3C To complete the Colour Composition required the selective addition of burning red shadows revealing the family s collective inner passion motivation and desire to survive or at least transcend their fate despite being frozen with fear Page 51 of 503 FINE ART PHOTOGRAPHY POS
88. www freegamma com has the only published literature that discusses and analyses Photoshop s RGB curves behaviour This is presented in the form of instruction manuals Page 123 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT 13 14 and demonstration exercises for his Photoshop action Lobster Photoshop beta version 0 63 1988 contained the following modes Add Adds two channels together If channel has a grey level of 120 and channel 2 has a gray level of 60 they add up to a grey level of 180 Anything that adds up to a number greater than 256 is clamped to 256 Blend Blends two channels together with the specified ratio Composite Performs a photo composite Constant Sets a channel to the specified constant grey level Darker Compares the pixels from the two sources and always puts the darker of the two in the destination channel Difference Takes the absolute value of the difference between two channels Duplicate This command copies one channel into another This command can also be used to copy from the selection mask into a channel or from a channel into the selection mask Hypotenuse Takes the hypotenuse of two channels that is destination sqrt source source 1 source 2 source 2 Lighter Compares the pixels from the two sources and always puts the lighter of the two in the destination channel Multiply Multiplies the densities of two chan
89. 75 1 2 3 4 Cyan p 0 063 D 2297 D 2474 D 2 214 V 0 058 V 0 704 V 1 004 v 1 208 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT channel will have effects throughout the calibration process in particular when configuring Ink Limits When configuring the ink limit chart the number of available inks will need to be reduced and the disabled ink channel should not be used in any of the combinations on the Ink Limit Chart PAPER PROFILE GRAPH The graph shows the dots selected for each colour The position on the graph gives a proportional representation showing where the dot starts to turn on or off and their relative proximity to other dots The individual colour graph plots can be turned on or off by checking the tick boxes under the ik graph Hovering the moda Wu da wa du wa So Wa wa mouse over a point on the graph displays a tool tip giving information about the dot If a colour is not shown on the graph but the check box is ticked the dots selected are most likely a poor choice and may not be valid or that the ink channel has been turned off by not choosing any of its dots Separate Ink Channels only SEPARATION CONTROL Page 270 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Separation Control is the ability to adjust where a light ink mixes with its respective heavy ink Fo
90. 9 Others acknowledge that color is different Willmore 2004 p 217 and that when you increase the contrast in an image using a master Curves adjustment you will also increase the color saturation Evening 2005 p 163 or If you need to increase contrast without increasing saturation you can use ROB Curves in an adjustment layer and change the Layer Apply mode to Luminosity Varis 2006 p 121 or by changing the Curves layer blending mode to Luminosity the contrast correction is maintained while the false color Page 91 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT saturation problem is negated Eismann 2005 p 199 While Eismann cautiously qualifies her observation with the verb negated Evening confidently states that blending Curves on Luminosity effectively increased the contrast but without increasing the color saturation Only Margulis warns against editing master ROB or CMYK Curves at all because random changes in color are a bad thing Margulis 1998 p 41 But as was the case with single control points on ROB Curves why or how Luminosity blending eliminates saturation changes is also never explained analysed or demonstrated and Hue the third component of colour Hunt 1998 p 25 and any effect contrast altering Curve adjustments might have on it is not mentioned Curve controls and their underlying mechanisms remain invisible to
91. 96 column Page 330 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Cyan Magenta Yellow Black Percentage The percentage reading of the chosen colour For e g if Cyanis selected the percentage of Cyan for each reading is taken This is the value displayed in the C column of the list The percentage values must be present for the values to be exported If they are not the exported file will show a 1 value in place of the reading Order Values Choose whether to export the file in CMYK or KCMY order Separate Values With Choose to separate the values with either a tab character or a space Cancel Cancels the Export action Export Displays a file chooser to enter a name and select a location to save the file to Table 1 Supported Density Standards Instrument Density Standard Status Default DTP41 DTP34 DTP22 DTP20 Spectrolino EyeOne 2 2 2 2 x lt gt x x e afr alm x x e efx 2 2 2 2 2 x lt 2 2 2 2 2 2 2 Not all instruments support all density standards This table is not a complete list information Consult the instrument user guide for more Page 331 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Page 332 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEME
92. 98 Loc Our SECURE MODE ONLY 398 CHATTERBOX 399 BROADCAST MESSAGE 399 DOWNLOAD PPD 399 ACCOUNTS ADMIN SECURE MODE 399 SETTING UP USERS AND USER GROUPS 400 ACTIVATING SECURE MODE 401 CONFIGURATION PANELS USERS PANEL 401 To create a User 402 Groups Panel 403 Activating Secure Mode 405 SYSTEM SETTINGS 407 Server 407 Colour Management 410 Working Paths 410 CLIENT 412 General 412 Colour Management 413 Additional Monitors 415 Calcheck Managed 415 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT APPLICATION SHORTCUTS 417 WEB SERVER 419 Accessing the Web Server 419 PUBLISHING A WINDOWS PRINTER 423 Method 423 PRINTING TO A WINDOWS SHARED PRINTER 428 Megarip Server Running on a Mac 428 TROUBLESHOOTING 437 Clustering 437 Cluster Nodes Errors Log 438 A Node Cannot Be Found 438 Printing to a Windows Printer 439 The Mac Spooler Reports NT_ACCESS_DENIED 441 Client Error 442 Unable to Print to Remote Windows Printer 442 GLOSSARY 443 COLOR MANAGEMENT GUIDE PHASE ONE 445 INTRODUCTION 445 Standardization of color values and calibrating devices 445 Workflow Devices 446 THE PURPOSE OF PROFILES 447 Human Vision and color values 447 Using profiles in color management 448 Color spaces color in 3D 449 Individual color 449 Color gamuts Color in 2D 450 COLOR MANAGEMENT FOR MAC 452 Setting up the hardware The camera 452 The monitor 452 Calibration of Monitors in Mac OS X 453 Adj
93. A Maximum The maximum delta measured for any patch in the Calcheck Ao The standard deviation of the patches from the A Average Score The relative quality of the print or monitor Calcheck as compared to the reference values Rated from 1 100 The Display panel contains the detailed reference and measurement data for each colour patch in the Calcheck Chart being checked Colour patches that pass are shown in black those that fail are shown in red The following sort columns can be selected using the contextual right click menu on the column header bar in the display panel The columns an be reordered by using drag and drop or by using the Configure Headers option in the contextual menu Headers available for sorting are Page 318 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Name The name of the colour patch Colour ref A colour swatch of the reference colour in the Calcheck Chart Colour meas A colour swatch of the measured colour Lab ref The reference Lab values of the colour patch in the Calcheck Chart Lab meas The measured Lab values of the colour patch Ae max The maximum Ae CIE76 CIE94 or CIE2000 tolerance value for the patch as defined in the Calcheck Chart Ae The measured Ae CIE76 of the colour patch CIE94 The measured Ae CIE94 of the colour patch CIE2000 The measured Ae CIE2000 of the colour patch AH max
94. Auto Detect Image Render and new Printer Output queues to monitor and manage jobs through the system Page 195 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT To configure e Right click in the QueueManager section and select Configure gt Queue Order e Select all the queues on the left and drag them across to the right list at the bottom e ClickOK Now configure the QueueStatus window in the bottom left corner These monitor the jobs progress in a particular queue e Right click in the QueueStatus window bottom right and select Queue Order e Select Image Render Spool and new Printer and drag them over to the right side e Click OK when done The Monitor now has a basic setup Test it out by printing an internal test print e Choose Application Menu gt Test Prints e Select your Pagesetup and Media then tick the Quickcal checkbox and click Submit Page 196 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT You should see the test print move through the various queues and be sent to the printer Page 197 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT THE SERENDIPITY MEGARIP SERVER The Megarip Server runs on the machine where the dongle is installed The Server handles the processing of all jobs through the system and must be started before the Cli
95. ENT JOURNAL COLOUR MANAGEMENT makes it possible to effectively and efficiently nest using Cut Sheet media MAINTENANCE The Maintenance panel allows Megarip to be configured to automatically perform printer maintenance functions This is not available for all printer drivers Maintenance functions can be performed at regular time intervals after a set number of print jobs or after printing linearisation charts and ICC targets Options include e When Select Every from the dropdown menu to activate time based maintenance with configurable time and day fields e Perform Actions e Calcheck When enabled the printer will print a Calcheck Chart as specified by the user e Clean Print Head When enabled the printer will clean the print head e Print Nozzle Pattern When enabled the printer will print a nozzle check pattern to verify all print nozzles are clean and functioning e Nozzle Check When enabled the printer will perform a nozzle check e Every Enter a number in the field or use the arrows to set the selected maintenance to be performed after the defined amount of print jobs e Perform Actions Page 243 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Calcheck When enabled the printer will print a Calcheck Chart as specified by the user Clean Print Head When enabled the printer will clean the print head Print Nozzle Pattern When
96. ESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Saturation The Saturation control provides the ability to customize the saturation of not the whole image as is provided with the Saturation slider in the Basic pane but a specific range of colors Try adjusting the Blues slider with the example image and notice the change in the strength of the color of the shirt worn by the subject on the right Luminance The third tab in the HSL control deals strictly with the luminance of specific colors With the sliders grouped here it is possible to change the brightness of a color grouping which can translate into altering the color contrast in a photo by selectively increasing and decreasing the brightness of opposite hues Grayscale By clicking the Convert to Grayscale option the feature changes to provide a method for creating custom mapping of the same color groupings to gray Using this control it is possible to restore contrast to a grayscale conversion when the different colors in the photo have translated to similar tones of gray producing a lowcontrast monochrome Project application In the example image you may need to flip back to the controls in the Basic pane and make some adjustments to Contrast Exposure and Blacks sliders alongside the changes made with the HSL sliders in order to ensure sufficient contrast results in the conversion Page 499 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVEL
97. ESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT TO CREATE A GROUP Members A list of Usernames and IDs belonging to the Group Click the icon in the bottom left of the window To delete a group click the icon Enter a name in the Name field To add privileges click the icon in the Group Privileges panel A list will appear to the left with all available items To add highlight the privilege and click the icon at the top right of the window When finished adding privileges click the X in the middle of the right edge of the panel to close the window Click Apply to save any changes to the group or Revert to cancel ASSIGNING USERS TO A GROUP Users are assigned to the groups via the Users panel Once the user i Users d Croups group has L been created click on the Users panel Select the User Name from the list of users Select the Group to assign the user to from the Groups dropdown menu Click Apply to save any changes or Revert to cancel Important Note A user can only be assigned to one User Group at a time If extra privileges are required these must be assigned against the user via the Users panel Page 404 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Hosts PANEL The Hosts panel allows for the configuration of automatic Client logins for selected host computers or network IP addresses when using Secure Mode The fields available
98. GB Curve on Luminosity only protects the hue and anchor points are still edited without being moved RGB Curves only function the same as single channel curves when editing neutral RGB triplets Therefore to fix Photoshop s RGB Curves a neutral greyscale rendering of the image needs to be extracted from the RGB image as a separate luminosity layer An RGB Curve clipped to the luminosity layer would only edit luminosity rendering it a consistent predictable command that now functions as a single channel luminosity curve The Luminosity formula used in Photoshop for reducing an RGB triplet to a single channel value K is based on mixing 30 of the red channel with 59 of the green channel and 11 of the blue channel Photoshop s Channel Mixer is capable of such a conversion For example the Channel Mixer in monochrome mode can map these relative luminance weightings into three identical RGB channels Page 130 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Du ox g Extracting 3096 of the Red Channel Extracting 5996 of the Green Channel Extracting 11 of the Blue Channe The above experiment extracted the luminosity from a 255R 255G 2558 background As each channel coefficient was applied the surrounding background changed in brightness and Photoshop s HSB info palette readouts verified the relative contribution of each channel As a L
99. GB Curves This was achieved by extracting the luminosity of an image onto a separate layer blended on Luminosity Clipping an RGB Curve to this greyscale layer creates a LUMA Curve that accurately edits luminosity separate from colour hue The corollary would be to extract the colour of the image so it can also be edited separate from luminosity Separating just the luminosity from the RGB file does Page 141 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT not provide sufficient control because any edits to the original background layer are still editing luminosity and colour While the extracted luminosity layer acts as a protection layer in the sense that its altered luminosity is imposed on the underlying edits they are nevertheless compromised by the lack of separation of colour from luminosity Therefore the extraction of colour is the second task References in the Photoshop literature to the Color blending mode always describe it as the opposite of Luminosity mode Kieran 2003 p 298 Another common variation is that Color preserves the luminance values of the base image replacing the hue and saturation values of the blending pixels Luminosity preserves the hue and saturation of the base image while applying the luminance of the blending pixels Evening 2005 p 289 But if Color mode combines the colour hue and saturation of the top layer with the brightn
100. GRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT also part of the standard calibration process ICC PROFILES ICC Profiles are used to match colours from one device to another for example a Press to an Inkjet It does this by mapping an input to an output colour e Output ICC Profile Select an output profile This is the printer or other output profile and is used to convert the Lab data into the output colourspace This output could be RGB CMYK or CMYKOG depending on the output device chosen and the detected colourspace e Output ICC Tweak Set Select a Tweak Set from the available list Lists can be previewed edited or new ones created e Device Link Profile Select a device link profile If the job passing through does not match the colourspace of the Device Link Profile the standard input and output profiles selected will be applied Upload ICC This option is available on all of the ICC choosers If the ICC profile is located somewhere other than the default ICC folders use this function to upload it to the Server ICC folders in order for it to be used As this is a Client side option this function can be used to move ICC profiles from the machine they were created on to the Server This can be either on the LAN or WAN as aremote machine Page 231 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT SCREEN PRINTING The Screen Printing mode separa
101. HOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT substantially changed from the earliest documentation The Adobe Photoshop CS2 Help Menu states Bowing the curve upward or downward lightens or darkens the image Moving a point either down or to the right maps the Input value to a lower Output value and the image darkens Conversely moving a point either up or to the left maps a lower Input value to a higher Output value and the image lightens You can add up to 14 control points to the curve Cirl Command clicking pixels in the image is the best way to add points when you want to preserve or adjust specific details in an image Lightening the highlights and darkening the shadows is represented by an S curve where the image contrast is increased Click a point and drag the curve until the image looks the way you want it Points on the curve remain anchored until you move them As a result you can make an adjustment in one tonal area while the other areas remain unaffected Adobe 2005a These claims have never been tested in the literature Instead text book after text book consistently confirms Adobe s description of the function and facility of Photoshop Curves and anchor points But all too often the results significantly differ from what we are told For example anchoring and adjusting the Luminosity of 255 Red 255 Green or 255 Blue on an RGB curve produces no change at all Bowi
102. HY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT A bar directly above the Page Navigator displays the Job Name for each currently viewed page on the left and right sides respectively Pages with more than one version will show a dropdown to select which version to view The Page Numbers being viewed are shown in the centre of the bar MENU OPTIONS The following are available from the FlipBook File Menu Open Publication Reload Publication Export Export as Spreads Export as Movie Other options are also available FlipBook Settings Configure the FlipBook viewing options and press configuration VIEW OPTIONS Allow Multiple Windows Enable or disable Allows multiple Publications to be opened and viewed in separate FlipBook windows If disabled a newly opened Publication will replace the one currently being viewed Page Order Choose between reading left to right or right to left Flip Time 3D Select the speed for the flipping of pages when in 3D mode Render Queue Thumbnails Enable or disable render queue thumbnails Show Borders 2D Enable or disable the borders when viewing in 2D mode Page 339 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT PRESS CONFIGURATION e o View or change the Press configuration FlipBook uses to display Publications ViEW MENU These options are also available from the FlipBook View Menu e
103. INE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT appreciation of virtuoso photographic practice and master photographers Conceptual art and its often rough almost artless and factual photographic documentation emphasised the performance or event rather than its reproduction and prepared the way for an acceptance of alternative processes and techniques whose inclusive democracy facilitated new production experimentation and expression To the 1970s camera people realism belonged to the earlier history of photography and as seventies artists they were embarked on a different kind of aesthetic quest Robins 1984 p 213 The age of digital reproduction has sharpened this distinction between physical modification and aesthetic relocation We can now photograph more precisely and efficiently by electronic means but we arc still really only doing electronically what we once did physically and chemically in darkened rooms The difference is that outcomes that were once limited to highly skilled practitioners can now be mimicked by almost anyone who can follow a simple digital recipe Perhaps this is what is meant by the complaint but can t touch it suspect that its double meaning digital processes are not physical processes and not being physical can t literally mark the object are only passing tremors Connoisseurship is not restricted to physical acts thoug
104. ING The following mouse controls are available within the Layout area e Left click on a frame Selects the frame for editing movement locking or deletion Currently selected frames are shown with a magenta border e Left click on empty layout area Deselects all frames e Left click hold drag on empty layout area Creates a temporary framing square for selecting multiple frames Any boxes wholly or partially within the square when the mouse button is released are selected Page 385 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT e Left click hold drag on a frame Moves the selected frames around the Layout area Release the mouse button to drop place the frames e Right click Opens the contextual menu with options depending on where in the Layout area the click occurred e Double click on a selected frame containing an asset Activates Crop mode for the selected frame A frame in crop mode will have a green border see Cropping below e Spacebar left click hold Activates the grip tool for panning around the Layout area FRAME RESIZING The following resizing options are available when clicking at the borders of a frame e Left click drag Enlarge or shrink the frame Proportions are maintained Resize is anchored at the opposing edge or corner of the frame e Alt Left click drag Enlarge or shrink the frame Proportions are maintain
105. Increasing saturation in ACR can lead to clipping in the color channels Clipping saturated colors can lead to a loss of fine detail and texture Saturation clipping is especially noticeable when you have selected the smaller sRGB color space and have captured an image with highly saturated colors As this image will end up being a split toned monochrome we ll step away from the example photo for a moment in order to illustrate saturation and vibrance Instead we will use the more colorful image to illustrate these issues The Vibrance slider applies a nonlinear increase in saturation targeting pixels of lower saturation It is also designed to protect skin tones in order to prevent faces from getting too red It should create less clipping problems when compared to the Saturation control In images where some colors readily clip due to their natural vibrance especially when using a smaller gamut such as sRGB lowering the global saturation in order to protect the clipping of a single color can result in a lifeless image In these instances the user can turn to the HSL tab to edit the saturation of colors independently Page 490 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT High levels of saturation clipping present in this file were corrected with the help of the Saturation controls 4 fi re P in the HSL tab saturation could then be increased reasonably non destructively using t
106. MENT JOURNAL COLOUR MANAGEMENT practice As a young artist quickly realised that most of the photographers that knew or admired were primarily obsessed with what was happening in front of the lens the beautiful light the kick that wins the football grand final the moment tragedy struck and so on On the other hand most of the artists knew or admired at the time who also used photographic processes tended to be more obsessed with what was happening on their side of the lens J The early literature on colour photography was therefore focused on it as a technical Pursuit and as an aid to a fuller realisation of the photograph as an analogue or imprint of reality This point of view extends back to the earliest illustrative publications on photography such as William Henry Fox Talbot s The Pencil of Nature which contained the following Notice to the Reader The plates of the present work are impressed by the agency of Light alone without any aid whatever from the artist s pencil They are the sun pictures themselves and not as some persons have imagined engravings in imitation Talbot 1844 The first complete working guide to Kodachrome and _ Kodacolor Photography acknowledges that color photography is a statement of fact and even professionally is still but little beyond a rather elementary development as an art medium Bond 1942 p 20 The next 232 pages reinforce this condition through the exclusive
107. NAGEMENT is ready the measuring window appears If instructed calibrate the instrument and begin e Change Media Change the Media currently assigned to the Paper Profile e Print Density Chart Prints a density chart containing the patches currently turned on Where patches are turned off there will be a space on the output print e Print Density Chart All patches Prints a density chart containing all patches irrespective of their on off state e Prink Inklimit Chart Prints an ink density chart containing all enabled limits as one job to the selected Media and Pagesetup e Print Inklimit Chart Separate Jobs Prints an ink density chart for each enabled ink limit colour combination as a separate job using the Media and Pagesetup selected e Configure Inklimit Chart Configures the combinations of inks to be tested for ink limits Select which colours will be printed the start and end ink percentage points and step increments Note If a combination is selected but insufficient patches to fill the row an empty chart will be printed For example selecting to print 3 ink limit and 2 colours are selected only the chart border will be printed e Preview Graph Show a graph of the patches currently turned on See the Graph section for more information e Sift and Sort Enable or disable to option to Sift and Sort the patches in the Paper Profile e Reorder Inks Change the order of the inks in the paper prof
108. NT FLIPBOOK The FlipBook application is used to view a publication as a virtual book In Megarip a publication is defined as a group of pages with the same publication name This is a collection of book or magazine signatures that have been de imposed but a publication may consist of any number of pages OY em dom em come RANE MA ommo FlipBook loads the publication and flips through pages as would be done with a real magazine or book This is useful for checking a de imposition has worked correctly that pages are in the correct order orientation and if there are any duplicates Larger views of the pages can be called up and the whole publication can be exported to PDF or as a QuickTime movie FlipBook can be opened in three ways Page 333 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT From the Application menu of the Serendipity Client Publications can be dragged and dropped from the QueueManager into the FlipBook window and wil open automatically From the QueueManager application by selecting a job and choosing View Flipbook The View FlipBook option is only available if the job has a publication name The FlipBook window comprises of four 4 main panels Publication Pagination Page View and Page Navigator PUBLICATION PANEL This panel contains the name of the Publication being viewed PAGINATION PANEL PAGE VIEW PANEL Start
109. Name field Enter a User ID number or leave the default value Create a password for the user and verify the details The password boxes will always display black dots irrespective of the length of the password Edit the permission level to the required access level Enter the user s email address if notifications are required Page 402 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT e Adda comment against the user if necessary e Assign a Group for the user e Add any extra privileges to the user if required This will only show privileges not included in the group selected for the user e Add any notifications to the user if required e Apply the changes or select Revert to cancel GROUPS PANEL An admin User and Group are created by default with access to all permissions and privileges when the Accounts Admin option is selected for the first time The admin user and group cannot be deleted It is recommended this be the only group with access to the Accounts Admin application The fields within the Groups panel are e Name The name of the Group e Group ID This is assigned automatically but may be changed by the administrator e Comment Enter a note on the particular user group if necessary e Group Privileges This is a list of available privileges relating to functions within Megarip Page 403 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE R
110. OPMENT JOURNAL COLOUR MANAGEMENT The controls in the erm E colors The Balance slider a ights s She ade tment ofthe be pint betwe ics tint used for hig lights and the one used for shadows SPLIT TONING When first introduced to ACR monochrome workers rejoiced at the inclusion of the dedicated Split Toning pane as the controls it contains provide the ability to use the included Hue and Saturation sliders to tint highlights and shadows independently Hue controls the color of the tint and Saturation controls its strength Holding down the Alt Opt key while moving either of the Hue sliders will preview the tint at 100 saturation full strength allowing for easier selection of the correct color After selecting the color you need to adjust the saturation To understand how the Hue slider works imagine the control moving progressively through the colors of the rainbow from red through yellow green and blue to purple and magenta Also included is the Balance slider which provides the ability to change the point at which the color changes Movements to the right push the split point towards the highlights whereas dragging the slider to the left means that more mid to shadow areas will be colored the selected highlight hue Page 500 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Remember to use split toning with a monochrome image you must make the conversion to
111. OPMENT JOURNAL COLOUR MANAGEMENT Photoshop as the perfect image editing solution for this situation provided that we understand the power of curves and blending modes For example we can edit an ROB curve blended on Luminosity to adjust brightness and contrast without changing the skin colour just its brightness or we can layer mask the effect to locally adjust a shadow of highlight value If required we can also anchor a critical image area such as a shadow or highlight on the Curve to preserve its value while adjacent areas are corrected In summary Tonal manipulation adjusting the lightness or darkness of your images is one of Photoshop s most powerful and far reaching capabilities and at first it may seem like magic But there s nothing magical about it Once you understand what s happening as you adjust the controls it all comes back to those ubiquitous zeros and ones it starts to look less like magic and more like clever technology But your increased understanding and productivity should more than make up for any loss of the sense of wonder and besides you ll have more time to play Blather 2006 p 227 This is photographic nirvana as previous systems of photographic subjugation and Control from the 19th century sensitometric research of Hurter amp Driffleld Ferguson 1920 to Ansel Adam s Zone System White 1968 1976 culminate in Adobe Photoshop Chemical processes are transformed into electronic p
112. OURNAL COLOUR MANAGEMENT Note It is the Match ICC profile that has the biggest bearing on the output and sets the output top end densities Page 351 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT MONITORCALIBRATOR The MonitorCalibrator application uses a supported Spectrophotometer to create an ICC profile for a selected monitor This allows quality graphics monitors to be calibrated to a chosen print standard for colour accurate softproofing of print material SoftProof accuracy can be verified at any time using the Calcheck application Creation of the profile is very simple requiring one of the supported devices and a few minutes of time The Spectrophotometer is placed on the screen and a series of measurements is taken from which the ICC profile is created Note The MonitorCalibrator creates a profile for use with the Match ICC profile assigned to the monitor in System Settings Ensure the correct match profile is set before creating the monitor profile see the System Settings Colour Management section for details ast ement retag tye Ore ico EI The MonitorCalibrator is launched from the Application menu If the Match and Monitor profiles have not been set previously a prompt will appear to select both A default monitor profile should be selected until a unique profile is created OPTIONS e Adjust Brightness Calibrating a screen to an establi
113. Once the driver has been selected click Next 9 Supply a name for the printer and click Next Page 425 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT 10 Choose to share the printer to make it available to other computers on the network Enter a share name and click Next 11 If the printer is shared a prompt will appear to enter some information in order to help identify the printer Click Next to continue Page 426 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT 12 Print a test page to confirm the setup is correct although this is not necessary as the port has been validated in previous steps Click Next to continue 13 The final screen shows a summary of the printer just created You should now be able to print to the Pagesetup from any network computer that can see the published printer Click Finish to close the window The newly created printer will be in the list Page 427 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT PRINTING TO A WINDOWS SHARED PRINTER The following provides step by step instructions on how to print to a Windows shared printer from Serendipity Megarip The first section will outline the steps required when the Server is running on a Mac The second will outline the steps for a Windows environ
114. Product The Serendipity Megarip software being used for the Node Version The Server software version of the Node Processing Pool Optionally choose a Pagesetup Pool see the Workbench Pagesetup Pool section for which the Node will perform image and render tasks Image Shows the number of simultaneous Imaging tasks that can be performed by the Node Click on the field to change the number Render Shows the number of simultaneous Rendering tasks that can be performed by the Node Click on the field to change the number see the System Settings Server section for details on Imaging and Rendering task settings Refresh The Refresh button polls the network for active Nodes and registers any Nodes in the list that are offline Cluster Node activity can be monitored in the ClusterStatus module see the Monitor Modules ClusterStatus section for Page 326 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT more information MENU OPTIONS The following options are available from a contextual right click menu within the Cluster Node panel e Add Node Add a Cluster Node that cannot be seen Sometimes Nodes on subnets cannot be detected Enter the hostname or IP address of the Node and add it to the list manually The Node to be added must be running e Add Processing Pool Select change or remove the current Pagesetup Pool for which the Node performs Image an
115. Pty Ltd Reproduction of any part of this user manual is strictly forbidden without prior written permission from Serendipity Software Pty Ltd All company names product names and trademarks mentioned in this manual are the property of the respective company Important Notice Every effort is made to ensure the information contained within this user manual is correct Serendipity Software Pty Ltd cannot be held responsible for any errors contained within this user manual and will not enter into any negotiations for claims of compensation relating to actions taken resulting from the information provided in this user manual for any reason whatsoever Serendipity Software Pty Ltd is constantly making improvements to the software and as such this user manual may not contain the latest information Every effort is made to maintain the user manual and for the latest version please check the website http www serendipity software com au If any errors are found within this user manual please detail them in an email to support serendipity software com au Supporting Tutorial and HowTo documentation is available on our website Page 176 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT http www serendipity software com au suppor Page 177 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT PRODUCT OVERVIEW Serendipity
116. RADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT BUT HOW DO LOCAL CORRECTIONS WORK Most localized corrections are based around a new tool called the Adjustment Brush shortcut key K The tool uses a brush type icon and is grouped together with the other tools in the toolbar that sits at the top of the workspace Here you will also find a new Graduated Filter Tool as well but more on this later Applying a localized correction is essentially a two step process First you mark out the adjustment area similar to making a correction and then you fine tune the degree and type of adjustments made to this area It is important to understand that unlike an action such as dodging and burning performed in Photoshop working with local adjustments in ACR means that you can manipulate the degree of adjustment and if need be you can also switch the image parameter you are adjusting as well after the changes have been made For example after painting on the adjustment area using an Exposure value of 2 80 EV so that the effects can be clearly seen on the image you can then change to the Edit mode for the tool and drag the Exposure value back to 0 and input a value for Saturation instead If that isn t powerful enough you can also create a custom adjustment mix that includes settings for multiple image characteristics all applied to the same adjustment area ADJUSTMENT BRUSH WORKFLOW A Select the Adjustment Brush The f
117. RESEARCH AND DEVELOPMENT JOURNAL JON RIETHMULLER FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT TABLE OF CONTENTS COLOR MANAGEMENT HARDWARE Characterization Calibration COLOR PROFILES Embedding Working spaces COLOR TRANSFORMATION Profile connection space Gamut mapping Rendering intent IMPLEMENTATION Color management module Operating system level Application level SEE ALSO REFERENCES NEW TECHNIQUES IN THE PRODUCTION OF COLOUR IMAGES IN THE FIELD OF FINE ART PHOTOGRAPHY ABSTRACT 11 12 12 13 13 14 14 14 16 16 THE FINE PRINT IN THE AGE OF DIGITAL REPRODUCTION Notes LivE DiGITAL PICTURES Stage 1 Stage 2a Stage 2b Stage 3a Stage 3b Stage 3c Stage 3d Stage 3e 31 42 43 45 47 49 51 53 55 12 13 13 16 17 18 19 19 33 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Stage 4a 57 Stage 4b 58 Stage 4c 60 Conclusion 62 THE DESENSITISATION OF PHOTOGRAPHY 64 Notes 71 THE CRAFT OF PHOTOGRAPHY 73 Notes 81 THE PROBLEM WITH PHOTOSHOP 83 Notes 120 FIXING THE PROBLEM 125 Case Study 1 158 Case Study 2 162 Notes 171 SERENDIPITY MEGARIP USER MANUAL 176 PRODUCT OVERVIEW 178 INSTALLATION 181 WHAT S ON THE DVD 181 WINDOWS INSTALLATION 182 INSTALLING THE DONGLE DRIVER WINDOWS 182 INSTALLING SERENDIPITY MEGARIP 182 WINDOWS UPGRADE FROM V4 To V5 183 INSTALLING THE
118. Server and Client SERVER Server settings are saved to the Server and are common to all connected Clients The Server settings are divided into three 3 tabbed categories General Colour Management and Working Paths GENERAL e Default Units Set the units used by the Server Options are mm cm inches points picas metres or feet e Maximum Memory for PS RIP Set the maximum memory used by the Postscript RIP The default is OMB which uses the internal default amount e Maximum Memory for Rotation Set the maximum memory used for Rotation The Page 407 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT default is OMB Server chooses the default depending on system configuration Low Quality Thumbnail Selecting this produces a lower quality thumbnail This is faster but some detail may be lost in the thumbnail Compression Control the compression for the intermediate file format the Imaged file Choices are Faster or Better The default is Faster Maximum Print Preview Resolution Set the maximum resolution for the rendered preview The default is 180dpi Server Back Log Number of days to keep the log Older days are trimmed when the Server starts Zero 0 means the log will not be trimmed Processes Control the number of processes the machine will handle i e the number of Imagingand Rendering tasks simultaneously run on the Server The defaults ar
119. Studio Designed for the manual nesting or tiling of jobs Workbench The principal configuration tool for Megarip see the Workbench section for more information Page 311 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT ARCHIVER Make backups or archives of the Workbench configurations with this application Individual items or complete systems can be archived for safekeeping Stored items can be loaded into the Archiver for adding to the Megarip database This can be used for copying a database to another Server or for recovery from failure or corrupt configurations You can configure the Archiver to automatically backup settings on a regular basis e e i B Important Note Archives cannot be back ported to previous versions i e version 5 archives cannot be used with version 4 Version 4 archives can be used with Version 5 however and will be automatically allocated to their respective databases when loaded FiLE MENU OPTIONS e Open Archive Open a previously saved archive A chooser window will appear to browse and select an archive sdb file to Page 312 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT load An archive can be loaded by dragging the database into an open Archiver e Save Archive Saves the archive to a sdb file e Close Ar
120. T SOURCES 1 Jill Condra ed The Greenwood Encyclopedia of Clothing Through World History vol 2 1501 1800 Westport Conn Greenwood Publishing Group 2008 17 18 Available from http books google com Internet Accessed 4 June 2009 2 Amy Butler Greenfield A Perfect Red Empire Espionage and the Quest for the Color of Desire New York HarperCollins Publishers 2005 25 3 Lisa Jardine Worldly Goods A New History of the Renaissance New York Doubleday 1996 31 4 Amy Butler Greenfield A Perfect Red 19 5 Amy Butler Greenfield A Perfect Red 22 6 Jill Condra ed The Greenwood Encyclopedia of Clothing Through World History vol 2 18 7 John Harvey Men in Black Chicago The University of Chicago Press 1995 51 8 Amy Butler Greenfield A Perfect Red 21 9 Amy Butler Greenfield A Perfect Red 23 10 Georges Duby and Philippe Aries eds A History of Private Life Revelations of the Medieval World Cambridge Belknap Press 1988 579 11 Amy Butler Greenfield A Perfect Red 27 28 12 John Gage Color and Culture Practice and Meaning from Antiquity to Abstraction Boston Bulfinch Press Book 1993 63 13 Georges Duby and Philippe Aries eds A History of Private Life Revelations of the Medieval World 569 14 Lisa Jardine Worldly Goods 15 15 Paul F Grendler ed Encyclopedia of the Renaissance vol 2 Clothing by Sarah C
121. T JOURNAL COLOUR MANAGEMENT Centering Choose between Vertically or Horizontally Use this to centre a job at any time In particular you may need to use it when printing to a double sided printer to help match the front and back sides Accuracy Correction Compensate for media stretch or paper feed errors by specifying a correction amount for width and height Cropping Crop the job in all directions When specifying cropping you will need to take into account any rotation that has been applied as cropping takes place after rotation Margins Specify a margin around the job You may have to specify a margin to shift a job over or compensate for a printer s set margin As with cropping take rotation into account Effects Mirror or Negative a job by enabling either option Note The Mirror and Negative effects in the Sheet panel differ to those in the Effects panel in that they apply the effect at the Imaging stage of processing Page 261 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT A PAGESETUP POOLS The Pagesetup Pools data type enables printing to one or more Pagesetups Choose to load balance between multiple Pagesetups or print to multiple Pagesetups simultaneously These can be published in the same way as an individual Pagesetup or set the Pool to auto proof PUBLISH e Publish DropFolders Allocate a folder where files can be dropped in for proc
122. TE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT file Anchor points on both LUMA and CHROMA curves describe the relative mapping of our pictorial concerns with a level of accuracy and authority that is otherwise not possible in Photoshop in an ROB colour space Even the LAB mode does not provide the same level of control For example editing the a curve in LAB mode changes both saturation brightness and hue whereas editing the CHROMA curve doesn t cause a significant hue shift while the specific brightness and saturation is being edited RGB Luminosity amp Chroma SS LAB a Curve Adjustment a Curve An anchor point for her lips was added to the red CHROMA curve and LAB a redcyan curve A number of other anchor points were added to the curves to reduce colour shifts elsewhere in her face while her lips were being intensified The edited LAB a curve added the desired saturation and brightness increase but it also induced a hue shift In the colour of her lipstick Also despite the large number of anchor points the LAB a curve edit also increased the level of Page 154 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT cyan in her skin reflections which changes the shape of her face its overall colour cast and therefore also her expression Blending the LAB a channel on Color makes no difference to the result the numbers remain
123. TGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT The original image was inserted as a Silhouette Layer and the Mask Settings adjusted so as to reveal all values from O to 115 levels exclude all values from 185 to 255 levels and transition from the visible to invisible between 115 to 185 levels The original image values remained unchanged just isolated and added as a separate layer to the layer stack Page 52 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT STAGE 3D The analogue Masked Type C process moves from a negative film to a positive print where as digital photography is a positive screen image to a positive print process Therefore the analogue isolation High Contrast Negative Mask HCNM becomes a digital isolation High Contrast Positive Mask HCPM The same result is achieved the isolation of individual pictorial elements for contemplation and consideration Page 53 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT The digital HCPM isolated the effect to the shadows and was selectively masked into the digital composite by locally erasing the ground This parallels the analogue masking process where a chemical reducer was painted onto the Isolation HCPM film pre mask to locally erase the figures In both cases the final isolation mask acts a9 a stencil through which the desi
124. Toning Manuals for Silent Films for a detailed account of the toning and tinting of motion pictures and their archival and cultural implications Usai 1996 Also his book Silent Cinema Art Introduction provides a beautiful and loving account of the technology of the early cinema colour restoration the ethicsof film preservation the philosophy of film as an artefact and the identification of film by symbols codes edges trademarks influences etc Usai 2000 The media production department at the Australian War Memorial in Canberra have to decide when retouching original images such as Page 173 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Frank Hurley glass plates from Gallipob as to whether the dust and hairs stuck to the plate are from Gallipoli and therefore artefacts or whether they have been acquired since and need to be removed in the digital file This also includes distinguishing between _ original processing marks and the effects of subsequent chemical restoration What is considered authentic remains highly debatable Page 174 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Serengipity Megarip User Manual Version 5 2 Page 175 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT SERENDIPITY MEGARIP USER MANUAL Copyright Serendipity Software
125. Toolbar has the following options also available via the Lineariser Menu e Customise Patches Allows for the selection of patches to be used in the Linearisation Chart Choose which Patch Percentages using the numbered buttons Total number of patches selected is displayed o Restore Defaults Restore the patch selection to the default 23 patches per channel e Use Lab Toggles between Density and Lab measurement modes Lab mode for linearisation is required for printers with built in Spectrophotometers e Measure Patches Initialises the connected Spectrophotometer Follow any instructions in the status bar to measure the chart e Submit Linearisation Save the data in the Measurement panel to the Media being linearised A popup will request a name for the curve Note The Customise Patches and Use Lab options are new to Megarip Version 5 If viewing curves loaded from a Version 4 x or earlier database the options will be unavailable until the Update Legacy Curves option is selected from the Measurement panel contextual menu see below There is no need to update Version 4 curves if the printer is performing satisfactorily However there have been significant improvements made to the Lineariser so it is worth considering re linearising with Page 342 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Version 5 AVAILABLE MEDIA This panel displays a list of avai
126. View 3D e View as Calendar e Ink Weight Opens the Ink Weights window displaying the FlipBook publication s ink weights and coverage Page 340 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT LINEARISER The Lineariser application creates a Linearisation Curve for an output device printer Assigned to a Media after paper profiling it brings the output device to a known linear state This means a 50 Cyan will print at 50 The user first prints a stepped wedge chart for a selected Spectrophotometer Densitometer to the output device in the colourspace specified by the Media The chart is measured and the resulting curve is saved assigned to the Media and a History recorded At this stage ICC profiles can be created and applied for accurate colour representation If the printer output varies due to ink batches or head wear a quick re linearisation process is all that s required to get back to the same linear state initially created The original ICC profiles can be re applied to achieve the same colour output THE INTERFACE The Lineariser window is made up of a Toolbar and a number of panels Available Media Linearisation History Measurement Advanced Options Spectrophotometer or Densitometer information and Curves display Page 341 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT TOOLBAR The
127. a 0 299 R 0 587 0 0 114 B The Blue anchor point was selected and darkened amp lightened 10 Levels Page 112 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT pucr ra 1 ep t a AL cet ibe i i i x 1 4 mess Ezi a as om LEE m np av nt er EH E ae z L3 z EI cu Blue anchor darkened 10 levels Red Green amp Blue anchor points Blue anchor lightened 10 As expected the Blue anchor point s Saturation and Bnghtness changed as its LUMA value was adjusted from 116 to 106 darkened 10 Levels and from 116 to 126 lightened 10 Levels But what was unexpected was that the Red and Green locked down anchor points also changed their values though those points remained locked down on the Curve The locked down anchor points did not prevent their values from also being changed despite the fact that those anchor points were not adjusted All three colours were being changed though only one colour was being edited An edit of 10 Levels difference was enough to significantly alter the appearance of all three colours This finding is a direct contradiction of the vast published literature including Adobe s own User Guides Help Menus and Class Room in a Book publications Adobe 2005b Many Photoshop professionals interviewed for this project s case studies also reported strange occurrences and unpredictable beh
128. a print file run a test job with the correct driver and find the file in the raster folder in the installation directory and type the following on the command line lp P lt printer gt lt jobname gt For the example of a HP printer we can type the following lpr Php t1100 via tanglefoot Quickcal 230166 rtl This should submit the rtl file created by the Server to the printer spooler You must be in the raster folder when the command is typed or if not enter the full path to the file for e g Applications Serendipity SerendipityMegarip raster Quickcal_ 230166 rtl THE MAC SPOOLER REPORTS NT ACCESS DENIED This means that the print system cannot access the printer It may be that there are insufficient privileges for the user trying to connect the username and or password could be incorrect or the username and password part of the string have been forgotten Page 441 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT CLIENT ERROR When testing with lpr or from Serendipity Megarip and the error client error not found is seen it means it is unable to find the printer the file is being sent to Check to make sure the name of the printer is correct UNABLE TO PRINT TO REMOTE WINDOWS PRINTER This can happen from Mac or Windows If you are on a Windows machine and are creating a new printer to connect to the remote printer but it fails to find the path make
129. a set of basic recommendations that can be followed Some printers may require specific setup procedures which are clearly beyond the scope of this guide The guidelines below are intended to assist the photographer in setting up the studio printer but should not be considered a replacement for any guidelines and procedures defined by printer manufacturers Many printers have a software or hardware user interface which permits the user to adjust printer settings Return to the default settings by disabling any color matching options and settings Ensure that both the monitor and Photoshop have been set up correctly according to Phase One recommendations Start Photoshop and open PhaseOne CMS checker tif Located in the Extras folder on the Capture One CD This is a high resolution version ofthe file used to adjust the monitor settings Page 462 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Make a print Compare the image on the monitor to the printed image Ensure that viewing conditions are optimal Please note that to compensate for adverse viewing conditions the monitor should be fitted with a hood This prevents light falling on the surface of the monitor Ideally the viewing environment or should also be neutral gray and the ambient lighting set at 5000 Kelvin but since practically no monitor can display a good 5000 Kelvin and therefore is set to 6500 K it is of more
130. a single channel therefore the RGB Curve is a single channel curve The research question is what metric is the RGB Curve expressing Page 105 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Our 19 64 Red 128 Green 192 Blue The solid blue colour 64R 128G 192B results in a single readout of 116 levels on the RGB Curve This is not the mean 128 or average 128 but a proportional calculation of the three RGB channels Desaturating colours also only averages the brightest and darkest channels where 255 Red or Green or Blue becomes 255 0 2 128 128B 128R 128G Desaturated Conversion to Grayscale Mode in Photoshop brings up a dialogue box requesting whether to Discard Color Information This is an instance of three RGB channels being reduced to a single channel Colour information must therefore also be discarded in order to convert three channels to a single point on the RGB Curve Another instance of three RGB channels being reduced to a single channel is in the Layer Blending Options Blend If Gray dialogue Creating a three step 255B 255R and 255G target adding a black filled layer blended on Normal and then Blend if Gray the Page 106 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Underlying Layer reveals the first appearance of Blue at 28 levels Red at 76 levels and Green
131. a value for the paper colour The Spectrophotometer can be used to measure the paper white directly into the configuration Configure the ink and paper properties of the press to simulate their effects in the SoftProof application This helps to produce more accurate proofs allowing you to build up a library of paper and press combinations Maximum Ink Weight Enter a value for the maximum ink weight This value is used by the InkKeyViewer to show excess ink Stretch Factor Enter a compensation factor to allow for stretch It can be used for distortion simulation or anamorphic scaling where one direction will distort more than the other Note The easiest way to calculate stretch is to draw a rectangle 1m x 1m and print it Measure the rectangle and enter the value If the size is 98cm enter 0 98 If the size is 102cm enter 1 02 Back Page Opacity Enter a value between 0 and 100 This controls the amount of show through of the back page through the front page when reverse page viewing in SoftProof Back Page DotGain Curve Select a DotGain Curve to apply to the back page when using the Show Back Page option in SoftProof Page 275 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT e Top Page Choose Even or Odd This is used to determine which page backs onto which so the correct back page is shown when requested Page 276 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE
132. agnifying glass Entering text in the search fields filters the list showing only the matching items The search can be inverted with CMD SHIFT I Mac or CTRL SHIFT I Win to hide the matching items The search Page 205 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT box will turn black to indicate inverse searching Pressing Esc will dismiss the search There are three 3 main sections to the Client The Workbench the Monitor and the Applications e The Workbench is used to configure the various parts of the Server This is used to create queues setup input paths and various calibration functions e The Monitor an application is used for managing and viewing jobs as they pass through the system e The Applications add functionality and provide tools for managing the Server and the jobs passing through it There are also various menu options containing system utilities and preferences WORKBENCH The Workbench is where the main software configuration takes place Medias Pagesetups Output paths Colour Sets and Colour Correction Curves can all be setup here When items are created or changed in the Workbench they are saved to a database read by the Server each time at startup The database can be backed up and copied to other Version 4 Servers The Workbench has a split window The left side shows Data Types database groups and allows you to select items fr
133. ailable pages This will result in single pages where the back are not yet completed e Maximum Jobs Set the maximum number of jobs for duplexing If this value is reached duplexing will begin Page 240 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT NESTING Nest multiple jobs together for a single output to save media and time e Enable Automatic Nesting Set the queue to nest jobs automatically when the configured conditions such as Maximum Wait Time are met e Auto Rotate When Nesting Enable auto rotation when nesting occurs If this is enabled make sure the option in the Pagesetup is set to None There is no need to spend processing time rotating a job if it is rotated at nesting time e Copies Specify the number of copies for nesting For example if there are 7 jobs making up a nest and enter 5 in the copies field 5 copies of the same 7 jobs will be nested and printed e Maximum Wait Time Specify how long to wait before nesting begins Once reached nesting will begin and any job waiting to nest will be nested into a single job The start time Page 241 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT is determined by the first job that appears waiting to nest Minimum Paper Coverage Specify the minimum paper coverage to be reached by jobs waiting to nest before nesting will begin Once reached
134. alance between the red of justice and the white of compassion 12 O Late 1300s in Venice a prostitute is known by her yellow dress 13 e Greens Renaissance O Youth especially in May 6 O Inthe secular sphere chastity 14 O Love and joy 4 e Greens Medieval nothing currently noted e Blues Renaissance O Light blue represented a young marriageable woman 6 O In England blue was the traditional color of servitude Servants or members of a City company were to wear bright blue or gray Renaissance clothing 15 O Indigo or deep blue means chastity in the sacred sphere 14 O turquoise was a sure sign of jealousy 4 e Blues Medieval O Inthe late Middle Ages blue replaced royal purple in the mantle of the Virgin Mary and robes and heraldry especially in France 16 O Alover wears blue for fidelity late Middle Ages 7 Page 466 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT O Bythe 1300s peasants owned blue Medieval clothing due to woad dye being readily available 17 O Early Middle Ages blue was associated with darkness evil Later blue was associated with light 18 e Purples Renaissance and Medieval O During the Renaissance the Medici family in Florence Italy wore purple 6 O Since Antiquity the color of kings and emperors but mostly nonexistent in Renaissance and Medieval era due to near extinction of the snail used
135. all colour management except for Paper Profile Usethis to make a Linearisation Curve Yes Print to check Linearisation This applies all colour management for checking a Linearisation This panel shows the Linearisation Curves for each ink channel Select individual channel checkboxes to view a channel Shift click to add more channel curves to the view Double click a channel to show all curves Page 346 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT SHOW CHARTS Selecting Show Charts will display another window with a chart for each channel in the linearisation curve At the top of the window is a series of tick boxes one for each colour Selecting one displays the single colour and hides all others Selecting another box changes the graph to that colour Select the same colour again and all graphs will be displayed Use SHIFT Click to show more than one graph CHART TYPES There are five 5 chart types available for selection Density History Plots the date of the curve on the X axis and the density values for each patch on the Y axis If the density begins to drop off it will be displayed in the chart Density Patches Plots the patches along the X axis and the density on the Y axis For each patch in the history a point is placed on the graph If the density for a given patch does not vary greatly the points will appear on top of each other
136. all possibilities become possible in a who do you want to be today corporate culture Even the briefest visit to Adobe s Digital Imaging web site reinforces the claim that their pixel editing program Photoshop is the world standard image editing solution for Print and Web High profile aggressive advertising amidst the uncertain instability of a constantly changing digital Page 64 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT geography may simply be making it too easy and too comforting to mistake print and web to mean everything and anything While fine art photography is as much the prey of fashion and indifference as any other aspect of culture fear there is more to my friend s reaction than some simple misunderstanding disagreement or unfortunate interpretation But to be fair to Photo shop my friend had been trying to manipulate a large high resolution image file something that Adobe don t even claim it was ever designed to do Her frustration is a product of both the faith and trust that she placed in a program and its inability to deliver everything that she had come to believe should be possible But to be fair to my friend sustained critiques of pixel editing including what it can t do are quite difficult to find Of the numerous textbooks training and do it yourself manuals that flood the book stores most authors present digital imaging in such an encyc
137. aller Follow the onscreen instructions to complete the installation Restart the computer when finished INSTALLING SERENDIPITY MEGARIP The next step once the dongle driver is installed is to install Serendipity Megarip There are two 2 Windows files available for installation the 32 bit or 64 bit version Select the appropriate file for your system to install To install Either select and run the Megarip installer by clicking the link on the browser page if it pops up as an Autoplay when the disk is inserted or go to the DVD and navigate to the windows directory to run the file megarip msi 32 or 64 bit version Follow the onscreen instructions to complete the installation Page 182 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Note You can type your own path and the installation program will make the folder for you provided your chosen location has valid permissions Use back slashes to separate directories WINDOWS UPGRADE FROM V4 TO V5 The Megarip Version 5 installer automatically upgrades the V4 database to the updated V5 format As a precaution however when upgrading from version 4 it is strongly recommended that the database and ICC profiles are backed up prior to the install See the Backing up V4 section INSTALLING THE DONGLE DRIVER UPDATE Version 5 dongles new or upgraded require an up to date Safenet dongle driver
138. ally never needs to be changed the standards to be used are saved with the chart When the time comes to read the chart with the Calcheck application simply load it and measure If you wanted to use a different standard this is done in the chart and not the Calcheck The chart can be attached to the job as it passes through the Pagesetup or printed from the Calcheck The window shows a list of the patches on the right and colour information on the left For each patch selected you can adjust its Lab values delta tolerance and patch type The overall target Page 214 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT preferences are specified in the lower half of the left panel TOOLBAR OPTIONS New Colour Create a new colour in the list with default values Values and colour names can be adjusted as desired Delete Colours Deletes the selected colours from the list Duplicate Colours Makes copies of the selected colours Use shift or control keys for multi selection Rename Colours Pops up a renaming window allowing you to change the name on one or more colours simultaneously Import Patches from Files Import a patch set from a colour data file such as those of colour standards or ICC profile makers A file chooser will display allowing you to navigate to the file location Reorder Patches Reorder the patches Selecting this will display another window where y
139. ames the better the quality but the larger the file size Trial and error will provide the desired result e Render Queue Thumbnails View the Rendered thumbnails in rather than the default Imaged thumbnails Page 337 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT PAGE NAVIGATOR PANEL The Page Navigator displays a numbered box for each page making up the loaded Publication It allows for direct navigation to any page by clicking on it The page boxes are colour coded 4 S Light Green indicates the pages are loaded into the FlipBook and can be viewed These show as dark green when selected ez Purple indicates there are duplicate pages i e 97 3 up they have the same publication name and page numbers Dark purple indicates the pages are selected 3 N MEA 5 Clicking on these pages will select and view the alternative page 19532 GOLF TEXT job IMPOSITION Page 7 t 19532 GOLF TEXT job Page 007 IMPOSITION 07 SS Light Red indicates the page is not in the FlipBook This occurs when there are other pages greater than the numbers displayed This could be due to the imposition signature not yet being rendered As they render simply reload the publication to update the pages The status colours are updated whenever Reload Publication is selected Page 338 of 503 FINE ART PHOTOGRAP
140. ames to the clipboard Copy Copies the currently selected frames to the clipboard Paste Pastes the frames in the clipboard to the Layout area Paste is centered at the current mouse pointer position Page 381 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT FRAME MENU Bring to Front Move the selected frame to the front top layer of the layout Bring Forward Move the selected frame one layer forward up Send Backward Move the selected frame one layer backwards down Send to Back Move the selected frame to the back bottom of the layout Group Group multiple selected frames for movement deletion locking or asset multi drop Ungroup Ungroups currently grouped frames Align Left Aligns grouped frames along the left edge of the leftmost box in the group Align Right Aligns grouped frames along the right edge of the rightmost box in the group Align Top Aligns grouped frames along the top edge of the uppermost box in the group Align Bottom Aligns grouped frames along the bottom edge of the lowest box in the group Align Horizontal Centre Aligns grouped frames along the averaged horizontal centre line ofthe framesinthe group Align Vertical Centre Aligns grouped frames along the averaged vertical centre line of the frames in the group Lock Lock the selected frames Locked frames appear transparent and cannot be moved edited deleted or ha
141. an afford Biedny 1998 p 146 Other Photoshop tools have Blending Mode options but not the Dodging and Burn tools 6 Therefore an alternative method of Dodging and Burning would be to use the control of a Curves Adjustment Layer and locally Layer Mask dodge amp burn the effect into the image This would apply the precision of Photoshop Curves in conjunction with blending modes and non destructive editing to the problem of Dodging and Burning The following before and after images illustrate this solution Layer Mask and superimposed Adjustment Curve After Burning In foreground via a Curves Layer Mask M Page 98 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT However once the same area of the image the orange bricks below the statue is locked on the ROB Curve and that control point is lowered sufficiently to reduce the brick s brightness by l5 the hue and saturation shifts are identical to using Photoshop s Burn Tool This implies that Photoshop s Dodging and Burning Tools are editing the same set of RGB curves number matrix The Only advantages of Dodging and Burning via a Curves Adjustment Layer is that the effects are not permanent because they are located on a Layer Mask and can be renegotiated at any stage and the Adjustment Curve Layer can be mode blended As previously noted almost all leading Photoshop authors including Varis 2006 p
142. and this is recommended A Correction Curve is applied if a small amount of fine tuning is required after normal calibration procedures TOOLBAR OPTIONS e Trace Saved Curve A green line appears showing where the curve was last saved This will show where the curve has been edited e Invert Curve Inverts the selected curve e Bigger Smaller Curves Increase or decrease the size of the graphs as they appear on the screen e Gradation Table Enter values manually to adjust or create a curve e Preview Curves Displays a window with all curves in their respective colours so you can assess them in relation to each other This is updated dynamically as changes are made e Lineariser Loads a Linearisation Curve directly into the Lineariser application Page 221 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT HB Page 222 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT A ICC TWEAK SET The ICC Tweak Set section allows for the creation of a library of colours that need tweaking adjusting for accurate output A tweak set alters colours during the ICC mapping stage from input to output profile and is selected on a per Media basis The ICC profiles are not edited in any way and the tweak set can be selected as desired Each colour requiring alteration is selected and adjusted by adding to or subtracti
143. anufacturers will quote a YN number for a given media but Page 348 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT this is rare The YN formula used for calculating the dot percentage is A dot is the value of the 1 10 density being Dot 100 measured 1 10 solid is the density of the solid patch Therefore a YN value of 1 has no effect on the dot percentage area A value other than 1 will compensate for the dot spread on the media If the YN is greater than 1 the Dot decreases and if the YN is less than 1 increases This can be seen from the graph on the Lineariser YN 0 5 The curves display the compensation therefore if the YN number is less than 1 the dot percentage calculated is increased so the curve applied will go down The reverse is true for a YN number greater than 1 For most of the testing done during initial development the value of 2 the default setting seemed to work well It was also noted on occasions better results were obtainable by setting Page 349 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT different values for each process colour Note As the ICC profiles are created after Linearisation any value entered will be used for printing the ICC chart and will affect the output This means when the ICC profiles are applied the same YN number must always be used in the L
144. ar and editing the L channel preserves hue but not saturation The confusion and misinformation surrounding this topic and the lack of a solution is a result of malleable definitions and different metrics being used to measure the same qualities Willmore declares that Luminosity is just another word for brightness Willmore 2003 p 2 18 while the Lightness L channel in LAB is often incorrectly referred to as Luminosity McClelland 1994 p 137 166 amp 251 Evening 2005 p 326 amp 524 In colour science the concept of relative brightness is so important that the term lightness is reserved for it Hunt 2004 p 68 That is lightness is the brightness of an area judged relative to the brightness of a similarly illuminated area that appears white Fairchild 2005 p 90 Colour science therefore divites colour appearance and its terminology into subjective and objective qualities Subjective Objective Objective Terms Terms Terms Hunt 1967 Hunt 2004 Hue Dominant Dominant Wavelength Wavelength Saturation Purity Purity Hue Chromaticity Chromaticity Saturation Lightness Luminance Luminance Factor Factor Page 103 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Subjective Objective Objective Terms Terms Terms Hunt 1967 Hunt 2004 Luminosity Luminance Brightness Luminance Luminosity
145. as identified The proof can also be verified using the Calcheck application to give a pass or fail status in accordance with colour standards Page 355 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT FILE MENU OPTIONS Open Files Load an image file directly into SoftProof Supported file types are Canon RAW format CRW JPEG PNG PPM Serendipity Megarip Image and Tiff Open Jobs Load completed jobs into SoftProof A QueueManager window will open showing available jobs Once selected choose whether to load the Imaged or Rendered file Save Save the preview as a Megarip Image file This can be submitted or placed in a hot folder or on a DropSpot Export Export data from SoftProof The available formats are CIP3 PDF Postscript Separated and Tiff Multichannel Submit Submit the current job to a Media and Pagesetup with any current changes This re images and re renders the file When submitting the image to be processed again with any relevant changes the current image resolution is submitted If the resolution is restricted in the System Settings this is the resolution that will be used SoftProof Settings Opens the preferences for the SoftProof application allowing the selection of default viewing conditions See below for further information SOFTPROOF SETTINGS Select viewing preferences including how to load a job the quality and press settings t
146. ast adjustments on Luminosity changes contrast without effecting saturation Also that points on a curve can be anchored or locked down and preserved while other areas are adjusted independently of the anchor points These axioms predicate an elegant divide and conquer approach to image editing that allows pictorial values to be edited independently of one another Not only can an image now be exactly cropped to include wanted pixels and exclude unwanted pixels tone and contrast can also be edited independently of hue and saturation From an efficiency let alone creative point of view this system appears ideal Only those components of an image that need to be edited will be adjusted thereby harnessing the productivity promised but rarely delivered by earlier digital processes Fuller 2003 The Curves command works the same way with color images as it does with grayscale ones save that you can operate on all channels simultaneously useful for tonal corrections or on individual channels useful for changing the color balance Blatner 2004 p 311 Consider a portrait whose length width and pixel resolution as well as the skin s hue and saturation are perfectly resolved and don t require further editing Perhaps only the global brightness needs to be adjusted or a local highlight darkened or shadow lightened to resolve the image The literature presents Page 93 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVEL
147. ast while saturation produces unnatural colors Relative intent handles out of gamut by clipping burning these colors to the edge of the gamut leaving in gamut colors unchanged while perceptual intent smoothly moves out of gamut colors into gamut preserving gradations but distorts in gamut colors in the process If an entire image is in gamut relative is perfect but when there are out of gamut colors which is more preferable depends on a case by case basis Saturation intent is most useful in charts and diagrams where there is a discrete palette of colors which one wishes to have saturated to pop but where the specific hue is less important IMPLEMENTATION COLOR MANAGEMENT MODULE Color matching module also method or system is a software algorithm that adjusts the numerical values that get sent to or received from different devices so that the perceived color they produce remains consistent The key issue here is how to deal with a color that cannot be reproduced on a certain device in order to show it through a different device as if it were visually the same color just as when the reproducible color range between color transparencies and printed matters are different There is no common method for this process and the performance depends on the capability of each color matching method Some well known CMMs are ColorSync Adobe CMM LittleCMS and ArgyllCMS OPERATING SYSTEM LEVEL Apple s Mac operating s
148. at 150 levels These relative brightness values expressed as a percentage of 255 possible levels produce the following brightness ratios The same brightness ratios are discovered when 255B 255R and 255G are plotted on the RGB Curve where Blue 28 levels Red 76 levels and Green 150 levels This confirms the relative weightings of the Red Green and Blue channels in the RGB Curve are approximately 30 RED 59 GREEN 11 BLUE For example 64R 128G 192B would be converted to 64 0 30 128 0 59 192 0 11 115 84 which when rounded up to 116 correlates exactly with Photoshop s RGB Curve vaiue This Luminosity formula defines the RGB Curve response Blend if Gray options and all other grey component areas in Photoshop apart from Mode gt Grayscale conversions 1 Similar RGB ratios are equated with the video Rec 601 luma co efficients where Luma Y 0 299 R 0 587 G 0 114 B Poynton 2003 p 291 The Commission Internationale de 1 Eclairage also defines Luminance as a weighted sum of linear tristimulus RGB components CIE 1987 Page 107 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT We are therefore not working with Luminosity but a colour appearance model based on Rec 601 luma coefficients Single channel Photoshop curves such as a greyscale curve work precisely without any of the problems associated wit
149. at describes which device is used to reproduce the final image In practice this could either be a printer or a monitor Monitor setup has already been described in this guide For the purpose of this discussion there are three basic groups of destination profiles for printers PROFILES INSTALLED WITH THE PHASE ONE SOFTWARE These are basic CMYK printer profiles that cover the generic catalog printing standards in use around the world As they are only generic profiles and there are so many variations from printer to printer the results from these profiles may not be perfect for every printing press Page 461 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT PROFILES SUPPLIED WITH A STUDIO PRINTER These profiles enable correct color reproduction in the majority of cases and can be installed and used by the photographer with little difficulty CUSTOMIZED PROFILES To customize a printer profile for either an RGB or CMYK printer third party software and hardware is necessary The process to create a custom profile involves printing a standard target file that is supplied with the hardware calibrator called a spectrophotometer The color values of the resulting print are then read by the device and a custom ICC profile is generated PROOFING WITH THE STUDIO PRINTER Although it is not possible to describe the optimal procedure for all types of studio printer Phase One has
150. ate amount in the blue If the exposure level is gradually increased the point will come when the red layer reaches its maximum response this results in a lack of tonal modulation in the colour and a shift in hue towards magenta as the level of exposure increases further the response of the blue layer will reach a maximum and since the maximum responses possible in the three layers are normally made to be equal the difference between the red and blue responses will have vanished and the colour becomes magenta finally when the response of the green layer reaches its maximum all three responses will be equal and the colour becomes white The colour therefore changes from reddish magenta to magenta and then to white Only colours for which the responses in two of the three layers are equal pure red green blue cyan magenta yellow will be devoid of this type of change in hue before gradually desaturating to white The effect is often most noticeable in reddish magenta and bluish magenta colours because they can be of very high colour saturation Hunt 2004 p 233 RGB colour spaces are based on the additive mixing of red green and blue light In any tri stimulus colour model a higher number correlates with more light and the sensation of increased brightness This is also what we understand from the history of photography where increasing exposure increases the amount of light its intensity and or duration that pla
151. ate for newspapers given their low quality reproduction gallery exhibition demands high quality visual Page 21 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT resolution Shift in usage of the image required a different degree of precision Wells 2000 p 41 J Ansel Adams fine print manifesto A Personal Credo in the American Journal of Photography blends connoisseurship modernist aesthetics high art pretensions industrial psychology and the poetics of form Not only does the making of a photograph imply an acute perception of detail in the subject but a fine print deserves far more than superficial scrutiny A photograph is usually looked at seldom looked into The experience of a truly fine print may be related to the experience of a symphony appreciation of the broad melodic line while important is by no means all The wealth of detail forms values the minute but vital significances revealed so exquisitely by the lens deserve exploration and appreciation It takes time to really see a fine print to feel the almost endless revelation of poignant reality which in our preoccupied haste we have sadly neglected Hence the look through a stack of prints while you re waiting attitude has some painful connotations Adams 1943 The tradition has resulted in an extensive series of books by artists such as The Ansel Adams Basic Photo Series which were
152. ation around the new input value The Option Merge Visible command will paste a flattened version of the layer stack into a new layer that can be sharpened or blurred locally blended on Lighten and Darken and layer masked back into the Page 161 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT stack to refine its spatial composition The final rendering combined the altered LUMA layer at 100 opacity with the CHROMA layer at 60 opacity CASE STUDY 2 The original tonal composition already captured the darkness of the moment so it adjustment didn t need to be excessive just a slight boost in local separation But the eerie green fading light clashed with the stilled nocturnal blue We remembered this ocean that we have never known the space of our ancestors Thoret 2006 Original Luma Adjusted Luma Tonal Composition Page 162 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Adjusted Luma and Chroma Original Chroma Adjusted Chroma Colour oeenn The colour composition needed enhancing to match these sensations which were partly physiological because the maximum luminous efficiency for night vision shifts to the blue at about 505nm Malacara 2002 p 13 amp 134 but also psychological evoking a chilling but glowing mythopoetic world The pictorial problem was to bring essentially
153. ation in an RGB file Changing the LAB L in the same way preserves the hue but changes both brightness and saturation However the satura tion change is not reflected in a L a b info readout because the LAB colour space does not quantify Page 156 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT changes in chroma Editing the LAB L curve only changes the L notation not the a b numbers but the effect is also a change in chroma which we perceive as an often unnatural shift in saturation Original LAB RGB Gradients Plus edited RGB Curve Plus edited L Curve The RGB Curve exposure adjustment blended on Normal darkens all colours equally without unnatural shifts in appearance Such exposure changes are not possible in LAB where even the Lightness slider in the Hue Saturation command produces the same effect as the L curve while the Brightness control produces less error but still shifts hue saturation as well as brightness However a Hue Saturation Adjustment Layer blended on Darken or Lighten increases or decreases saturation without changing brightness in both RGB and LAB colour spaces Extracting hue and saturation CHROMA into a single layer facilitates the local redistribution of the colour composition without effecting the brightness in the same way that extracting LUMA facilitates the local redistribution of the tonal composition luminosity without effecti
154. aviour when using Photoshop s colour correction tools Users often referred this behaviour to their own inadequate comprehension of Photoshop s tools and commands But blaming themselves Page 113 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT weakened confidence and reduced productivity even in experienced users as well as other members of their production team Further experiments confirmed these findings Anchor points on an RGB Curve do not remain fixed and unchanged as other points are edited Editing RGB Curves changes more than the image s Luminosity This implies that Luminosity is something more than Brightness However matrix relations and transfer curves are at the heart of all Photoshop tools and commands Another experiment revealed the often contradictory behaviour of RGB Curves 2 Four shades of green were anchored on the RGB Curve and one anchor point at a time was edited For the 450 and 650 anchor points bowing the curve upwards lowered darkened their brightness and bowing the curve downwards raised lightened their brightness Lightening or darkening the 250 anchor point darkened or lightened the 850 anchor point Only raising or lowering the 850 anchor point brightened or darkened all other points though as anchor points they are not meant to he changing These findings contradict the fixed relationship between curve shape and pictor
155. b Export just the Lab values e XYZ Export just the XYZ values e Lab XYZ Export the Lab values followed by the XYZ values on the same line e XYZ Lab Export the XYZ values followed by the Lab values on the same line e Separate Values With Choose if the values are to be separated with spaces or tabs A contextual right click menu in the Measured Loaded Set panels has the option to Delete a selected colour Delete All measured colours Print the measured loaded set to a system device and Font Options Page 374 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Page 375 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT STUDIO The Studio application is designed for the manual nesting or tiling of jobs being processed and output by Megarip Jobs to be nested or tiled using Studio are submitted to an Asset Queue using the Submit Files As Assets option in the Application menu or by dragging files into an Asset DropSpot in a DropZone Submitted assets are visible in the Asset Queue in the QueueManager and remain in the queue even after printing until deleted from the QueueManager Unlike other queued jobs assets exist only as placeholder thumbnails until a manual nest or tile is submitted from the Studio application The submitted jobs are then imaged rendered and the nest is printed appearing in the appropr
156. be capable of global and or local digital application and renegotiation This includes traditional controls such as dodging burning intensification reduction colour balancing and removal of secondary colour casts and where possible an even finer division of tasks such as multi stage sharpening involving input and output Sharpening It also requires the independent control of hue saturation contrast and tonality For example the editing of a portrait will typically require control over the skin s hue tone and exture If the hue and texture are perfect but the skin is too light or dark its lightness darkness Page 39 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT must be capable of being adjusted without effecting its hue and texture These is also the challenge digital photography poses to the epistemological foundations of analogue photography As Geoffrey Batcheri observes digitization abandons even the rhetoric of truth that has been such an important part of photography s cultural success Batchen 1997 p 211 Roland Barthes believed that what intentionalize in a photograph is neither Art nor Communication it is Reference which is the founding order of Photography Barthes 1981 p 77 Photographs appeared to be reliably manufactured commodities comfortably regarded as causally generated truthful reports about the things in the real world Mitchell1992
157. board shortcuts can be created Note It is the responsibility of the user to check the created shortcuts do not conflict with any other Megarip third party software or operating system shortcuts hotkeys To add a shortcut e Highlight the selected application or module in the list e Use the Edit option in the context menu right click or click in the Shortcut field to the right ofthe application module name e Type in the key or key combination for the FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT shortcut and press Enter The shortcut will now appear in the Application menu of the Client To remove a shortcut e Highlight the selected application or module in the list e Use the Clear option in the context menu right click or e Click in the Shortcut field and delete the shortcut Page 418 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT WEB SERVER The Server has a built in Web Server that allows users to connect to it from a web browser This provides status information about the Server and jobs currently in the system It cannot be used for submitting or managing files in the system but a jobs progress may be monitored and some system information viewed ACCESSING THE WEB SERVER To connect to the Web Server 1 Enter the IP address or machine name if using DNS of the computer running the Server in th
158. ch Calcheck Chart section for more information For printers the selected Calcheck Chart is printed from Calcheck to the Pagesetup and Media being used to proof jobs or a chart can be assigned to a Pagesetup to print with each proofing job The chart is then measured using a supported Spectrophotometer For monitors the Calcheck Chart is selected a supported display Spectrophotometer is placed on the screen to measure the patches from the chart as the Calcheck application cycles through them After the measurement phase the results are displayed in the Page 316 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Calcheck window A pass green tick or fail red cross is determined by whether all the measured patches fall inside the tolerances as defined in the Calcheck Chart The results can be printed as a label to a system printer or depending on how the Calcheck was initiated saved with the Job or Media see below The Calcheck window is made up of a Summary Panel top Display Panel centre and a Device Spectrophotometer panel bottom SUMMARY PANEL The Summary panel contains information about the completed Calcheck This information is available for view within the MediaStatus module the Calcheck Info section of a Media or the Job Info window of jobs that have been calchecked The following information is displayed e Summary for The panel title
159. channels The brightest channel is Page 104 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT blue at 193 levels The difference 193 90 103 levels expressed as a percentage of the brightest channel 193 equals its saturation or purity i e 103 193 100 1 53 The widely used Munsell colour system originated by the artist All Munsell in 1905 and extended and refined in various ways since Kuehni 1999 is an objective system that is scaled subjectively Thus for a constant hue and chroma colour saturation tends to increase with decreasing lightness Hunt 1967 p 73 Photoshop s Luminosity Blending Mode exhibits the same subjective characteristics The CIELUV and CIELAB systems also have a general similarity to the Munsell system because they were designed that way Hunt 2004 p 140 CIELAB is similar to CIELUV except that there is no representation of saturation Hunt 2004 p 64 This also explains the correlation between the behaviour of Photoshop s Lightness channel and its Luminosity Blending Mode effect on Brightness and Saturation The earlier solid blue colour 64R 128G 192B experiments illustrated the difference between RGB Levels and RGB Curves While the ROB Levels correctly represented all Red Green and Blue values of each image pixel the ROB Curve represented each RGB triplet as a single readout point on the curve Three RGB channels are converted to
160. chive Closes the currently opened Archive e Perform Full Backup Adds all Workbench data types to anew Archiver window e Automatic Backup Preferences Configure the frequency time and location that a system backup is performed The options are e What Day Choose a day of the week every day every number of days or never e What Time Choose the time the backup is performed e Location Choose the location the archive should be saved to A check is performed when the Client is first started and every hour afterwards to see if a backup should be performed The Client must be running for a backup to take place The table below gives a guide as to when a backup would occur in different scenarios ae Client Client Time Backup ae Started Quit Performed Time Monday Monday When Client is Started No 2am 9am 9am Tuesday Tuesday No Tuesday 12 30 pm Page 313 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT foe Client Client Time Backup A up Started Quit Performed Time 12 10 pm 9 30 am Everyday When Client is 12am Hee No Started 12 20am Midnight each day The following No Wednesday at 11 30pm Wednesday Tuesday llpm 8 30am Sunday Monday Friday 10pm 8am 5pm eset EDIT MENU AND CONTEXT MENU OPTIONS e Add to Archive All Select everything or all of a particular data type fo
161. ck point at 0 RGB will edit brightness independently of saturation Keeping the curve straight unbowed only changes exposure and therefore ensures the same relative brightness increase or decrease is applied to all three RGB channels so the saturation is not altered This global change can be locally layer masked into the image as required Even when blended on Hue Saturation or Luminosity bowing the RGB curve induces a saturation shift Only a straight line curve edit preserves saturation o m pe ones X1 YA gt OF om gi Ci UX mm C m E omm m Blue anchor dead 20 levels Blended on Luminosity A Blue anchor lightened 20 levels Unfortunately the flue Saturation Color and Luminosity blending modes also don t always function as the Photoshop text books claim they do These errors derive from a confusion of brightness Page 117 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT luminance with Photoshop s Luminosity blending mode While Luminosity blending does change the brightness values in the image it therefore also has to change the saturation Simply equating Luminosity blending with brightness changes is to not understand that they are mediated by a Luminosity formula LUMA that differentially weights the three RGB channels and therefore saturation has to change when an RGB anchor point s brightness is changed This is why Phot
162. ck side to be printed or time to load another sheet Note The Change Media option is used as both a safeguard against paper waste and a workflow control method If a Media type is assigned to the Output only jobs submitted to the Output using the same Media will be printed All other jobs are held in the QueueManager until the Media they were submitted to is assigned to the Output If no Media is assigned all jobs sent to the Output are printed Page 236 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT DESTINATION The Destination determines the method of delivery of the output job to the final destination Depending on the destination driver selected there may be some additional options available DESTINATION DRIVERS e Bonjour Zeroconf Select this to output to a Bonjour Zeroconf network destination The local network is polled for Bonjour Zeroconf devices Choose Edit and select the appropriate destination from the dropdown list e Command Script Select a script or command to be run once a job has completed e Epson FireWire Only available on the Mac OSX version Windows users should use the Local Print Queue option and print to an installed printer configured to use FireWire e Epson XIO Print to an Epson connected via FireWire using Epson XIO interface on the Mac OSX This requires the Epson driver to be installed on the Mac first This option is only avai
163. color chart The color patch should be a deep burgundy red Often only very slight changes in gamma are needed to give an optimal result When satisfied close the control panel and save the profile SETTING UP PHOTOSHOP Start Photoshop In the Edit menu select Color Settings In the Settings pop up select Phase One Workflow Photoshop is now configured for use in the Phase One workflow VISUAL INSPECTION To test the Color management setup and make a visual inspection open the PhaseOne CMS Checker Lowres tif in Photoshop Located in the Extras folder on the CD The file should have an Adobe RGB 1998 embedded profile and therefore no color conversion is needed Page 460 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Areas of special interest when evaluating the image e The gray scale at the bottom should be evenly distributed and you should be able to se the transition between 100 to 95 and 5 to 0 e The field in the lower right color of the colorchart should be deep red burgundy e Details in the black hat of the lady in the lower right corner should be visible e Look at the fruit and vegetables in the top and judge if it looks like natural colors e Skin tones ofthe portraits should look naturally e Finally the details in the waterline along the ship should be visible PRINTING DESTINATION PROFILES A destination profile is the profile th
164. colour composition is displayed independently of the drawing composition and tonal composition ii it shows the correct brightness order of colours iii these qualities also facilitate the accurate pre visualisation of image edits Original RGB Image Extracted Luminosity LUMA Extracted Colour CHROMA Page 151 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Extracted Red Chroma Extracted Green Chroma Extracted Blue Chroma Once the composition is broken down jinto its component parts the difference in photographically constructing images compared with other visual arts like drawing and painting becomes obvious photography especially digital photography usually hides from its own processes In a fraction of a second a complete rendering of the subject magically materialises The episodic discoveries that the Dye Transfer printer once shared over time with the rest of the visual arts is hidden if not entirely lost in digital translation Focused by mainly commercial concerns the efficient fix it and move on approach dominates much of the Photoshop literature The separation of luminosity and colour reverses this digital hegemony reinstalling a craft centred approach where the artist is once again a pioneer in the construction of their vision rather than only a receiver of their vision The colour composition is a unique experience that reclaims the image for photo
165. cool colours forward reversing their natural recession Separating the chroma layer into its red green and blue component layers allows unprecedented control of the colour composition A progression of warm colours was layer masked through the cool blues so the warmer magenta blue sky stops receding the cool ocean cyan blues were selectively remapped so the ocean become even more distant and the blue CHROMA layer was split toned to intensify the spatial separation between the red yellow rocks and sand magenta blue sky and blue cyan green ocean Page 163 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Adjusted and Layer Masked Red Chroma Inverted Blue Channel Layer Mask Adjusted and Layer Masked Green Chroma Color Balance adjustments Adjusted Blue Chroma Layer Styles split toning blending settings The Red CHROMA layer was intensified by Linear Light blending a null Curve adjustment layer and an inverted blue channel layer mask selectively rendered it into the colour composition The Green CHROMA layer was intensified by Soft Light blending a Color Balance adjustment layer with a 20 cyan highlight colour shift and hand layer masked into the colour composition The Blue CHROMA layer was intensified by Soft Light blending a null Curve adjustment layer and Layer Styles Blend if Blue sharply split toned yellow shadows and blue highlights into the colour composit
166. ct the Preset tab on the far right and select the preset of your choice from the list It will automatically be applied to the image open in ACR Note Using a custom profile with your photo won t permanently change your picture To revert the image back to its original settings all you need to do is select one of the Adobe created profiles from the Camera Profile menu in the Camera Calibration section of ACR wem loaded into the drop in Adobe Camera Rau GLOBAL TONAL ADJUSTMENTS STEP 6 In the last chapter we looked at how careful adjustment of Page 487 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT the tonal controls listed directly beneath the White Balance sliders will allow you to get the best out of the dynamic range of your imaging sensor thereby creating a tonally rich image with full detail For more details on using these controls revisit the appropriate section in the last chapter The example image has some real problems with overexposure and therefore potential clipping in the highlight areas of the photo Careful adjustment of the Exposure and Recovery sliders will help with this problem but not totally remove it In this example we will start by adjusting the tones and color globally That is making changes to the whole of the image Next unlike in the previous chapter we will fine tune the results by using the new Adjustment Brush t
167. cture but a physical manifestation of tonal luminosity Editing this luminosity map alters the image s tonal composition This can be achieved visually and intuitively but also with numerical precision because anchor points on a LUMA curve remain locked down until they are moved Original Image Original Extracted Luminosity Page 140 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT with LUMA Curve Edited Luminosity LUMA Curve In this example the drawing or colour compositions are not the problem The sky simply lacks the anthropomorphic qualities needed for its figure to dominate the ground These feelings are buried in its tonal composition Resolving it will resolve the image Building solidity and cohesiveness into the sky increases its anthropomorphic presence while increasing the separation in the mountains without destroying their darkness intensifies the figure ground differential The sky now towers over the mountains and possesses our imagination The LUMA Curve enables the tonal composition to be edited independently of the drawing and colour compositions With consistency and accuracy it promotes the accurate pre visualization and intuitive prediction of editing outcomes Being able to diagnose structural problems and divide them into their component parts also facilitates a logical and productive workflow The first task was to correct errors in R
168. d TIFF JPEG or EPS file as the input match profile When enabled embedded file profiles will always take precedence over any Match ICC assigned to the Pagesetup Note The TIFF Image output driver has an option to embed an ICC profile into TIFF files that are output by Megarip Black Point Compensation This setting is designed for use when processing input from large gamut sources such as photographs and RGB images Black Point Compensation enhances shadow details in these images assists when viewing shadowed areas in non ideal or everyday lighting conditions and prevents flooding in CMY gray areas This setting only Page 249 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT functions when using colourimetric intents and when Always Use ICC is checked Black Point Compensation should not be used for normal CMYK proofing jobs which are generally well within the gamut of an output device Inkjet printer e Intent Select the rendering intent to use Options include e Perceptual All colours are moved proportionally to each other so the eye perceives the colours to be correct i e colours out of gamut move into gamut and those in gamut move proportionally to those out of gamut e Relative Colourimetric Those colours out of gamut are moved into gamut and those in gamut are left untouched e Absolute Colourimetric The colours are left alone so those out
169. d you can print the file or save it to disk The log can be printed saved or exported from the browser System info Choose this to display information about the system Product Info Licensed Modules available printers and input filters and Available Destinations are shown Support To access the Serendipity Support site select this option from the menu This is the same as if accessing the Serendipity Software website directly From here download Page 421 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT databases release notes manuals updates tutorials FAQs and other helpful information An active Internet connection is required for access to the support website function Page 422 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT PUBLISHING A WINDOWS PRINTER This section explains step by step how to publish a configure a Megarip Pagesetup for publishing to a Windows printer destination When correctly setup third party applications will be able to print directly to the Pagesetup as if it were a Windows printer It is assumed that Serendipity Megarip is running and a Pagesetup configured METHOD Once the Pagesetup is configured and working it needs to be published as a Windows Printer 1 Tick the Windows ee check box in the I m im Publish panel of the J cn tuas
170. d Render tasks e Remove All Offline Slaves Nodes Remove a Node from the list that has gone offline e Remove Node Available for offline Nodes only This option removes the selected Node from the list Page 327 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT DENSITOMETER Measure and display density readings with a supported Spectrophotometer When measuring a patch the densities of all four process CMYK colours making up the patch are read The Last Measured panel in the top half of the application window shows the density and dot percentage values for the dominant process colour of the measured patch with the values of the other three colours to the right The values can be recorded and saved to a file if desired Note The Densitometer application is a utility allowing for a Densitometer or Spectrophotometer that does not have a display to read values This can be as a one off reading to compare densities or used to read values and export them for plotting on a graph There is no requirement to use this for the normal operation of Serendipity Megarip DENSITOMETER MEASUREMENT PAPER OPTIONS e Yule Nielsen Number Enter the YN number for the paper being read if known The default is 2 0 e Densitometer Choose one of the supported instruments from the available list e Instrument Default Density Standard Select the desired density standard from the availab
171. d darkness independently of the control of contrast Employing the same tools or commands to edit each property would contribute familiarity confidence and certainty into the workfiow Where the tool or command is then positioned in the workflow would also define its production characteristics and pictorial qualities Their global or local application also needs to be equally facilitated and reversible The workflow should be capable of fostering experimentation when appropriate or efficient and streamlined production as required It should be scriptable and not require extended excursions throughout the program to execute any task The interface should be localised easy to navigate and mirror the workflow Page 129 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT This is what is required to fix Photoshop it defines the research problem The first task was to correct the errors in RGB Curves Photoshop curves work as predicted on greyscale images because anchor points remain locked down and individual points can be numerically adjusted with precision They also work correctly on single colour channels But luminosity curves RGB Curves do not function in this way because each anchor point represents three hidden red green and blue points So in order for the RGB Curve to function correctly as a luminosity curve it needs to be adjusting a greyscale image Blending the R
172. d the altered LUMA and CHROMA layers at varying opacities How we experience tone and colour is an important guide to how we edit tone and colour preventing unwanted changes or being able to isolate one problem while correcting another is as important as fixing the problem not transferring the problem from one image area to another is as important as the edit itself enhancing desirable qualities already present in the image without clipping or destroying adjacent qualities is as important as the image itself because without this level of certainty inefficiency and confusion will also be edited into our images A scene that looks very colourful in bright Page 166 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT daylight looks less so in dull cloudy daylight much less so at twilight and at moonlight levels looks almost devoid of colourfulness altogether But in the important task of recognizing objects their relative colourfulnesses are given great attention Thus a red tomato seen in bright outdoor daylight is much more colourful than when seen indoors on a dull day but we still perceive it as red not pink on the dull day because its colourfulness is judged relative to other objects in the scene This attribute of relative colourfulness is called chrorna it is defined as the colourfulness of an area judged in proportion to the brightness of a similarly illuminated areas
173. dedication to technical execution and excellence in colour photography and nothing more J This approach has continued almost without exception to today There are no colour equivalents to either of the Ansel Adams Basic Photo Series or the host of other publications on the fine print tradition that followed including Vestal 1974 Gasson 1977 Vestal 1984 Henry 1986 Gasson 1989 Even Page 26 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT photographic manufacturers such as Kodak published books on the art and craft of quality monochrome printing Kodak 1982 Publications on esoteric monochrome darkroom processes are still being written and distributed in the 21st century Rudman 2003 Todd 2001 Thornton 2000 But there are no such equivalents covering the art and craft of colour photography Digital imaging continues this arbitrary division between black and white and colour processing and printing Of the 157 Adobe Photoshop text books that were published in the first eight years of Photoshop to 1998 only one publication Barry Haynes and Wendy Crumpler s Photoshop Artistry A Master Class for Photographers amp Artists makes any reference to the fine print tradition The foreword begins by quoting An sel Adams autobiography Image quality is not the product of a machine but the product of the person who directs the machine and there are no limits to imagi
174. dongle driver To install 1 Remove all USB SuperPro dongles 2 Onthe DVD navigate to the dongle macosx directory 3 Double click the Sentinel System Driver pkg file to launch the installer 4 Follow the onscreen instructions to complete the installation 5 Restart the computer when finished INSTALLING SERENDIPITY MEGARIP Once the dongle driver has been installed the next step is to install Serendipity Megarip 1 Select and run the Megarip installer by clicking the link on the browser page if it pops up as an Autoplay when the DVD is inserted Alternatively navigate to the windows directory on the installation DVD and run the Serendipity Megarip pkg This method must be used if you intend to use the Epson HTMs Page 184 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT 2 Follow the onscreen instructions to complete the installation Important Note Before starting the software after installation see the Running the Software section Mac OS X only CREATING DOCK START ICONS To make it easy to start the Server and Client it is recommended you create a Dock shortcut To do this 1 Run the Megarip Server and Client applications from the installation location 2 Once the Server and Client icons appear in the dock right click or CTRL click the mouse and select Keep in Dock from the menu 3 Alternatively drag the Server and Client icons directly
175. dow See the Archiver section for further information Export as C5 Pack Allows users to export Media files from the Workbench to a specified location for use with the C5 application Undo Undo the last change There are multiple undo options and this is configured via the System Settings section Redo Redo the last undone change There are multiple redo options depending on the undo status and configuration in the System Settings Page 208 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT VIEW MODULES WINDOW HELP Find Opens a text box at the bottom of the Workbench panel to locate the search text on the screen Split Vertical Horizontal Changes the view to either Vertical or Horizontal split on the screen Show Type Column Used in conjunction with Show Usage to display the type of data listed Show Modified Time Column Displays the last modified time for the items listed Show Usage Displays the items within the database the currently selected item uses e g a selected Pagesetup would show the Media and Output it currently uses Reverse Usage Reverses the usage shown above Was called Show Referrers previously Access all available Modules via this menu A floating window will open for each separate module opened Bring All to Front Shows any open window of the Client and can be selected to bring it to the front Server Info P
176. e measure The limits are e Average For all the patches in the chart that will be measured by Calcheck the average must be below this value for a pass e Maximum This is the default value used when creating or importing patches This value is only used for assigning maximum tolerance for the import When the target is measured the tolerance set per patch is the one used to determine a pass or fail status e Standard Std Deviation The standard deviation across all the patches must not exceed this value This is only available in the Ae standard Page 218 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT The Calcheck will only report a pass if all targets are achieved in the patch set and therefore the proof or monitor Patches Per Strip Specify how many patches are printed per line allowing the use of existing target standards such as the Fogra Media Wedge SPECTROPHOTOMETER The Spectrophotometer gives users the ability to use one of the supported online instruments to measure colours directly into the Calcheck Chart To measure colours e Select an instrument from the dropdown menu and click on Activate The device must be connected and turned on e Follow the on screen instructions as some devices require calibration before measuring e When complete click the Turn Off button e If Lab text is selected a prompt to choose a file to import will appea
177. e a 24 bit ROB colour image can display a maximum of 256 red X 256 green X 256 blue levels of brightness resulting in 16 78 million possible brightness combinations or colours in the image 3 It is a mystery why Adobe has never combined Photoshop curves and a histogram while many other programs do Though Photoshop supports bit depth greater than 256 levels its tools still operate at 8 bit resolution rather than the actual resolution of the image 4 An A4 page at 300 pixel per inch resolution is the staple of the graphics arts industry While these Uhotoshop errors in practice are insignificant they illustrate the culture of approximation that belies any pixel editing software That is it can only edit whole pixels All edits are constrained and compromised by their pixel processes no matter how inefficient or inconvenient Vectorised imaging such as Live Picture s FITS technology does not suffer such approximations 5 Global and or local contrast can be altered Page 121 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT with Photoshop s seven main Image Adjustment commands Curves Levels Color Balance Brightness Contrast Selective Color Highlight Shadows and Exposure The Posterize and Variations commands as well as the Dodge Burn Blur Sharpen and Smudge tools and many filters can also locally alter image contrast 6 Blending modes can be used to blend
178. e 1 1 Up to one imaging and rendering task can be set per CPU core the Server machine possesses In practice it is recommended the combined number of imaging and rendering tasks be set to no more than the number of cores For example 4 CPU cores 2 Image 2 Render Minimum Broadcast Interval Set the time interval the Server sends out updates to connected Clients The default value is 2s This is the minimum setting Zero 0 disables user configuration Output Unknown Files to Printer Output any unknown files direct to a printer If this is unchecked any unknown files will result in errors and will not be output Page 408 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Log Printed Jobs When enabled this option will log completed print jobs in the Server log The jobname and dimensions are noted Secure Mode Enable or disable Secure Mode Mail Server Enter the details of the mail server for error notification emails when using Secure Mode Sender Email Address Enter the details of the Sender From address for error notification emails Page 409 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT COLOUR MANAGEMENT ICC Engine Accuracy Select Faster or Better WORKING PATHS depending on preferences Default ICC Profiles Select the default ICC profiles used when first creating a new Pagesetup Input pro
179. e 204 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT THE SERENDIPITY MEGARIP CLIENT The Serendipity Client is a graphic user interface GUI used for configuration maintenance and monitoring of the Serendipity Megarip Server The Client can be installed and run locally on the same machine or from any supported computer on the network using TCP IP protocol There is no limit to the number of Clients that can be connected to the Server and each Client will have its own settings specific to the user Once installed the Client connects to a Serendipity Megarip Server and loads the settings from the Server into the Client interface Any Client can access the job management information and view the current status The configuration can be open to all users or protected via Secure Mode which allocates specific access for created users and user groups For more information on how to setup access see the Secure Mode section of the manual LOOK AND FEEL There is a common theme and functionality to the Client There are many ways to complete the same task such as configuring a Pagesetup from the QueueManager Various options are available using the right mouse click to bring up other contextual menus This will vary depending upon the section of the Client interface being used Anywhere there is a chooser to select an item from the database a search field will be indicated by a m
180. e Note The Note panel displays any notes attached to the job currently selected in the main viewing window There is also a Note column in the QueueManager showing the number of notes attached to a particular job e Hide Notes Show or hide the notes on the preview By default loading an image will display any notes Page 364 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT e Type Lists whether the note was made on the Imaged or Rendered file e Text The text making up the note e Modified The date and time the note was last modified e Created The date and time the note was created e User Group The User and Group responsible for the note e Search Box At the bottom of the window a search box can be used to locate specific note information All fields in the Note channel are searched PUBLICATIONS When softproofing a job forming part of a publication additional controls and view options are available The Publications panel has the following options e Single Page Display just the single page selected De selecting this enables the options below e Show Back Page Display the reverse side of a page through the page currently loaded as if the final print was being held up to light The Back Page Opacity setting in the Press Settings controls the amount of show through e Show Page Spread View the spread of the selected page for e
181. e a number of actions that can be performed on a job Options become available when one or more jobs are selected Only actions valid for the job status are shown For example the action to Nest Now is only available if the job has a status of Waiting to Nest The following are available in the Toolbar or by selecting job s Page 299 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT and right clicking to access the context menu e Job Info Shows information about the currently selected job The Job Info contains all details of how the job was processed and displays a thumbnail preview of the job and its configuration Right clicking on the window and selecting Print can print the Job Info to a system printer Note Job Info amp thumbnail can also be displayed by double clicking on the job If multiple jobs are selected double clicking will display info about all in the window Holding the control key Win or command key Mac will allow the font size to be adjusted via the mouse wheel for easier viewing Job Ownership Displays two panels General and Ownership showing the type created and modified dates of the job plus the user and group permissions See Accounts Admin Secure Mode for more information e Modify Allows various attributes of the job to be modified These include e Name Change the name of the job e Publication Name Change or add a publication
182. e browser window followed by a colon and the port number 8080 For eg 192 168 3 43 8080 h 192 158 3 43 8080 2 Press Enter once the address has been typed in When it connects the browser address bar will look like this N Eoi nuo 192 168 3 43 8080 3 If using a DNS Server enter the machine name instead kl http papaya BOBD Page 419 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT 4 Once connected the front page will appear with an options menu on the left e Queues Shows all the queues configured on the connected Server e Log file View the log file e System info Displays information about the system e Support Shows various support options amp information Queues Click on any of the queues to get information about jobs in that queue Information about the job including name and current status will be Available queues sho wn Serendipity Megarip Seol ECT Lem Log rae Printer queues System Info Show all queues Support Available printers uet aw aoc umama ae Barger Prec ques Snow a nues Page 420 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Log File To view the log file select the option from DOO H n m the list on the left From here select a particular time period to fetch from the Server Once viewe
183. e file that requires further editing of tonality and color in Photoshop after leaving the Camera Raw dialog box If you have assigned the ProPhoto RGB color space in ACR you must use the 16 Bits Channel color space in Photoshop to avoid Page 482 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT color banding or posterization Lew Levels x E nel R n Channel RCB Ox Channe CB 3 pu lt Cancel rasnaam Cancel Load Load Save Save Auto Auto x oO Options 0 1 0 Options Outou LE Output Levels FII h Rf Preview By f Preview 2 Final histograms after editing the same image in 8 and 16 bits per channel modes THE PROBLEM WITH 8 BIT EDITING As an image file is edited extensively in 8 Bits Channel mode 24 bit RGB the histogram starts to break up or become weaker Spikes or comb lines may become evident in the resulting histogram after the file has been flattened This is due to the fact that there are only 256 levels or tones per channel to describe the full color range of the image This is usualiy sufficient if the color space is not huge as is the case with ProPhoto RGB and the amount of editing required is limited If many gaps start to appear in the histogram as a result of extensive adjustment of pixel values this can result in banding The smooth change between dark and light or one color and another may no longer be possible
184. e number of layers in Live Picture is unlimited and doesn t depend on RAM memory Because of the FITS technology mathematical approach any effect in any layer can be progressively modified or completely undone Live Picture s file format VUE is also unique in that it permits both fast viewing and geometric changes With IVUE you can basically zoom into a 500MB Page 34 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT image in just a few seconds No special hard ware or extra memory is required The other important aspect of IVUE technology is that Live Picture can work directly on JPEG compressed images It doesn t have to decompress the entire image before using it Only the necessary pixels are decompressed This greatly facilitates the use of IVUE over networks telecommunication lines and on CD ROMS In Live Picture everything is accomplished with brushes not just painting but image insertion ghosting distortion colour changes blur sharpen etc The brush size is also unlimited For example you can sharpen a 500MB image with a single brush stroke and the brush operates in real time i e its speed is independent of the underlying file size Live Picture also has semi automatic silhouetting It takes the previous background colour and when the object is silhouetted automatically calculates the difference between the previous and new backgrounds and sets the edge us
185. e of Burgundy by Rogier van der Weyden from a dedication page of the Chroniques de Hainault 1400 1464 Public domain via Wikimedia 25 Page 468 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT WHY COLOR SYMBOLS ARE NOT ALWAYS IN AGREEMENT Color symbolism during the Renaissance and Medieval periods has much in common with color symbolism today Consider for example the current meanings of colors In present day U S culture black is usually associated with mourning unless it is in the form of a little black cocktail dress in which case it signifies sophistication and elegance White means purity in the form of a wedding dress unless you are in China or Japan where it means mourning Blue is for feeling sad unless you win a blue first prize ribbon Green is for youth and it also means go at a stoplight 34 Stop at red and yet on Valentine s Day send your loved one a red heart 35 In a similar manner the symbolic meanings of color during the Renaissance and Medieval periods differed over time and depended on local culture and geographic area As John Gage points out in his book Color and Meaning colour perceptions are unstable making it difficult to confidently name colour meanings and preferences in cultures 36 The primary problem for students of the Renaissance and Medieval era is a lack of universally agreed upon symbols Not only was there more tha
186. e of the image making this a good first step for your processing PROFILE BASED CORRECTIONS After selecting Enable Lens Profile Corrections under the Profile tab of the Lens Corrections panel an installed profile that matches your camera and lens combination are used to apply precise distortion corrections to your photos Suitable profiles can be automatically located based on the EXIF data recorded with the image or selected by camera make Page 476 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT model and profile Individual error types can be adjusted via the Correction Amount sliders in the lower section of the pane When set to 100 the slider applies the profile correction fully Values of less than 100 reduce the correction effect and amount over 100 multiply the effect Note These Lens Correction features are also available as a filter in Photoshop CS5 and can be used in Bridge CS5 to batch process multiple files in a single step For more details about these applications plus a guide for creating your own compatible lens profiles go to the Filters chapter later in the book MANUAL CORRECTIONS Brand new for ACR6 is the inclusion of five new transformation sliders Previously these controls have only been available in Lens Correction filter in Photoshop Their inclusion here provides an extra level of manual adjustment for tweaking your photos It is impor
187. e software Process Imaging Rendering Schedule Last Check whether the Master Server is to perform any Imaging or Rendering Jobs The Schedule Last option allows nodes to have priority over the Master when jobs are processing This is advantageous when polling large RIPs as it allows the Master to concentrate on gathering the list of jobs and displaying them CLUSTER NODES This list shows nodes that are available and running on the network Information about each node is displayed in the window Online nodes are displayed in green offline nodes in red The following sort columns can be selected using the contextual right click menu on the column header bar in the Cluster Node panel Columns can be reordered by dragging and dropping them into the desired order or by using the Configure Headers option in the contextual menu The sort options are Page 325 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT IP address The network IP address of the Node Checkboxes become available to enable the node and select if it is to be used for Imaging and or Rendering tasks Once enabled the Master handles the clustering in the most efficient manner possible Hostname The network name of the Node Speed The relative speed of the Node calculated by Megarip Platform The operating system kernel version of the Node machine CPUs The number of CPUs in the Server machine
188. e to select Target Gamma 1 8 and Target white point D 65 6500 Kelvin e Some monitors e g Apples Professional Studio Monitors lets you adjust the Brightness and Native Gamma values from Page 453 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT within the Display Preferences if the above procedure did not let you adjust these values this is not supported on your monitor and you will have to adjust this manually as explained below ADJUSTING THE BRIGHTNESS AND CONTRAST MANUALLY Turn the monitor on and let it reach normal working temperature this may take 30 min e Set the contrast to 100 Most monitors have control buttons at the front Most TFT monitors do not let you set the contrast so here you will only set the brightness e Drag this document to align the black rectangle below with the bottom of the screen edge boundary e Adjust the brightness of the screen so that the black rectangle below is is almost as black as the dark border of the screen With some monitors it is possible to move the screen image to expose a larger border This may help when evaluating how dark the border should be e When this adjusting is done you might want to adjust the contrast back to less than 100 depending on the quality of your monitor SETTING UP THE SOFTWARE SETTING UP COLORSYNC SYSTEM SETTINGS e Select ColorSync from the System Preferences e Set the RGB Default pr
189. eWolfe 2006 p 43 Such mistaken beliefs are widely published and although DeWolfe is not alone in his confusion and misunderstanding it is unfortunately part of the problem But to be fair to the problem desiring a correlation between our observations our instruments and models of appearance is not an unreasonable request This is the aim of all colorimetric systems such as the MunseU system where samples of constant Munsell value have been defined to also have a constant luminance factor Fairchild 2005 p 120 Unfortunately there is not the same correlation between Photoshop s measurements the behaviour of its tools and commands and our observations though this doesn t devalue the desire to work with certainty and precision in a digital imaging system To be fair to Photoshop this is a complex problem Not only are there software engineering issues efficient and timely processing of large amounts of data design issues attractive interactive logical and uncluttered workspaces there are also legacy issues accumulated over a long gestation period Page 126 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT RGB to grayscale conversion via the mode menu or when converting in the info palette is based on converting from ROB to XYZ using the information in Monitor Setup and then converting Y to gray based either on the information in Monitor Setup or the in
190. ed Resize is anchored at the centre of the frame e Shift Left click drag Free resizing of the frame ignoring locked width height ratios Assets within the frame will fit or fill the resized frame dependent upon frame settings Resize is anchored at the opposing edge or corner of the frame e Ctrl d Left click drag Snaps the frame proportions to the assets native proportions Page 386 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT and resizes Resize is anchored at the opposing edge or corner of the frame CROPPING ASSETS Cropping mode is activated or deactivated by double clicking anywhere within a frame containing an asset image When active the asset is separated from the frame and appears with an orange border the Crop box If the crop box is resized larger than the asset within it the space around the asset will also be printed to the size of the entire frame Page 387 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT ASSET PANEL The Asset panel shows thumbnails of all the jobs submitted to the QueueManager as assets to be manually nested or tiled The Asset header bar has the following options e List View button Displays the Assets in text form filename jobname e Small Thumbnail button Displays the Assets as small thumbnails with the jobname listed beside them e Large Thumbnail button
191. ed on the dongle The selected driver affects the options in a Pagesetup and Media pointing to it e Change Media Select this to optionally assign a Media to the Output A chooser window will appear with Media displayed matching the Output driver type The options as set in the selected Media are displayed for view can be edited or a new Media can be created e Status Choose whether the Output queue is Active or Inactive This can also be controlled from the QueueManager Page 235 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT AutoClean Configures Megarip to automatically delete printed jobs from the Output queue based on time and or number Options include Job History Keep Most Recent When enabled set a number of jobs Megarip will keep that number of most recent printed jobs in the Output queue automatically deleting any excess jobs Note If this option is enabled and the number of jobs is set to 0 jobs will be deleted from the queue immediately after printing Job History Keep Jobs Newer Than When enabled Megarip looks at the time signature of printed jobs and deletes any jobs in the queue older than the specified days hours min time AutoPause Select a time duration the queue should pause after processing a job Used for double sided plotters so there is a pause in sending the next job giving the plotter time to turn a sheet ready for the ba
192. een reached there will be a green tick displayed on the monitor If the time has expired there will be a red cross displayed Hovering the mouse over the cross or tick will display profile information and status Right clicking on the tick or cross will display extra options e Opacity Set the opacity value for the status window e Calibrate Opens the MonitorCalibrator and begins to calibrate If the instrument previously selected is connected calibration begins Once calibrated select an appropriate name and click OK This will save the ICC to the chosen location Select the ICC in the system settings and dismiss the MonitorCalibrator application Calcheck Managed is also linked to the Calcheck application where the status is saved to a Calcheck Chart and used when a Page 416 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT job is opened in SoftProof When a Calcheck is run for the monitor a Calcheck Chart is selected The result is stored with the chart which can be selected in a Press setting If a job is viewed in SoftProof with that particular Press and Chart selected the status of the proof being viewed is displayed This condition lasts for the duration of the current life of the calibration When a calibration expires all Calcheck statuses need to be updated APPLICATION SHORTCUTS This tab displays a list of the Applications and Modules for which key
193. eet availability for tracking Sheet count is reset using the Reset Counter button in the Usage panel e Custom Settings These options will vary depending on which output driver has been selected For example if JPEG is chosen the quality may be selected If an Epson device is selected items such as paper types ink types and cut methods become available Important Note Borderless Printing If available to the printer model users can choose Borderless Printing in the custom settings If selected Media width and the image Fit setting needs to be set to 6mm wider than the actual paper width When using Borderless Printing up to 3mm of the image will be lost from the left and right sides of the image and 1mm lost from the top and bottom of the image CALCHECK INFO A Media can have its calibration status checked using the Check Media FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT option within the Calcheck application see Applications Calcheck for more information This panel displays the current Calcheck calibration status of the Media with the following information displayed e Chart The Calcheck Chart used for verification e Date The date and time of the Calcheck e Score An internal calcheck rating from 1 to 100 AE A amp and AC tabs show the following data for each of the standards if measured e ACyan AMagenta AYellow ABalak Paper e Pass o
194. elationship to it Applying the same curve as a Luminosity blended RGB Curve adds none of these qualities The skin tone and skin colour is weakened the hair is lightened which further weakens its framing of the face and therefore also weakens their presence These effects are intensified because there is no change at all in the colour and tonality of the jumper despite the edited curve anchor point being the average luminosity of the red jumper As figurative elements are weakened around the static jumper the figures shrink into the pictorial space increasing their emotional distance or withdrawal from the viewer This destroys the very qualities that need to be boosted in the image But through careful observation and equally careful selection of tools the right effects can be quickly and easily achieved Page 139 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Edited Luminosity LUMA Curve with LUMA Curve with Luminosity blended RGB Curve Turning RGB Adjustment Curves into LUMA Curves has another very important artistic outcome Extracting the Luminosity as a separate layer also creates a visual map of the image s tonal composition This black and white image in turn maps our feelings to the tonal structure of the image It reveals the contribution the tonal composition makes to the construction of meaning arid pictorial coherence in our images This is no longer a mental pi
195. em printing to the printer the Windows printer will alert you to this not the Client As far as the Client is concerned the task has completed and it is finished with the job Page 436 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT TROUBLESHOOTING CLUSTERING Here are some suggestions of where to look if you run into trouble and experience problems when using a Cluster Joss NOT PROCESSING THROUGH A CLUSTER NODE The possible reasons for this are e The Cluster Node is not configured to image render or both Check the ClusterStatus to see if either of the processing tasks have been disabled To enable them open the ClusterManager and enable the appropriate task e The Cluster Node has a Processing Pool attached and the Pagesetup you are submitting jobs to is not contained within the Pool You can either unselect the Pool or add the Pagesetup to the Pagesetup Pool e The Cluster Node has gone offline To check open the ClusterManager and check the node If the ClusterManager is already open click the Refresh button This will check for node status If the node appears grayed out or disabled this indicates the node is not currently online Here the Cluster Node edes called IF Adieu Lr Tod Fp i lo i v 182 1628 3 48 norva mevel 78 35 Da pomelo is Il magos currently ee offline In this case you unti L4 Bla fle ay would check
196. ent is launched As the Server starts it checks to ensure a valid dongle is installed on the machine and which modules are enabled licensed The Server calculates the speed of the machine it is running on and checks the integrity of the database before loading it Once the Server is up and running a clock keeps track of the duration the Server is operational SERVER OPTIONS The window below displays the Server information and various options once it is running ee b D s Laws mmy Lpa Pe id LIKE FIERET La Bl 6 uuum j m im iml xs gm pi On ion port FIGU Page 198 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT FiLE MENU OPTIONS STARTUP OPTIONS Stop Server Stops the Server from running without quitting Serendipity Megarip Start Server Starts the Server if itis ina Stopped state Restart Server Update dongle Restarts the Server Update Dongle Allows users administrators to update the dongle with activation strings to enable various input and output licenses Close Closes the window If the Server is running you are warned and asked to confirm Server shutdown About Shows information about the Server Clicking More Less info shows or hides valid dongle options including the versions of the current drivers Stag server Restart ge rver Clase WW Start Server on Launch The Server will start once the application v Start
197. ent of Page 33 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Live Picture Inc said If you see that digital photography is going to be an important part of our lives you will appreciate how important Live Picture and its technology are For the first time it is possible to design in real time with high resolution images and do the kinds of things that people only dreamed of in the past This is a real breakthrough Only a few times have seen a light bulb turns on type of product and this is one of them Karson 1996 p xvii J Live Picture certainly offered innovations and facilities not found in any of the pixel editing programs at the time and to some extent are still not surpassed today For example all effects created in Live Picture such as painting filters and masks are resolution independent This means that they can be output at any size without re sorting to interpolation of pixels The effects are mathematically regenerated at the time of output during FITS Functional Interpolating Transformational System raster image processing at any specified resolution FITS layers can be reordered deleted resized and independently scaled Although other programs Altamira s Composer in the early to mid 1990s had layers or objects they didn t treat brush effects such as painting lightening blurring and colour correction as independent layers Th
198. eo should appear the same on a computer LCD monitor on a plasma TV screen and as a printed poster Color management helps to achieve the same appearance on all of these devices provided the devices are capable of delivering the needed color intensities Parts of this technology are implemented in the operating system OS helper libraries the application and devices A cross platform view of color management is the use of an ICC compatible color management system The International Color Consortium ICC is an industry consortium which has defined e an open standard for a Color Matching Module CMM at the OS level profiles for devices this includes devicelink profiles representing a complete color transformation from source device to target device o working spaces the color spaces in which color data is meant to be manipulated There are other approaches to color management besides using ICC profiles This is partly due to history and partly because of other needs than the ICC standard covers The film and broadcasting industries make use of many of the same concepts but they more frequently rely on boutique solutions The film industry for Page 11 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT instance often uses 3D LUTs lookup table to represent a complete color transformation At the consumer level color management currently applies more to still images than
199. er extraction These RGB triplets represent different saturated colours depending on the RGB gamut they are in and the spread of the Difference Map is determined by the gamma of the RGB colour space ut in everycase the same set of saturated colours are excluded from the CHROMA layer An even distribution of 216 RGB triplets from OR OG OB to 255R 255G 255B in permutations of 51 levels when separated into LUMA and CFIROMA layers highlights the out of gamut colours while the Difference map Page 148 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT reveals the missing colours in the separation The red green and blue primaries being the most saturated are the most effected with 255R 202 R 255 239G and 255B 154B There is also Unwanted colour leakage of 22 cyan minus red levels in the red 22 magenta minus green in the green and 12 yellow minus blue in the blue E m Nm Original 216 RGB Patches Difference Map Separated Luminosity Colour Colour leakage was common in the analogue darkroom where tn colour red green and blue separation filters always passed small amounts of unwanted colours necessitating the production of red and green filtered contrast reducing masks CRM The red CRM mask was combined with the original transparency during the exposure of the red filter separation negative and the green filter separation negative The green CRM was
200. erCell option Choose the preferred dot shape and enter the screen angles and rulings SuperCell gives a better shaped dot and the round dot tends to be more Page 278 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT commonly used The default angles of 15 45 75 and 90 are shown by clicking the Defaults button however these can sometimes produce undesirable effects mostly caused by the Yellow plate To counteract this offset all angles by 7 5 degrees to make them the following e Cyan 22 5 degrees e Magenta 82 5 degrees e Yellow 97 5 degrees e Black 52 5 degrees e Special 52 5 degrees Page 279 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT PAPER PROFILE CONFIGURATION In Screen Printing mode only one patch can be turned on per colour Therefore the value for the patch does not matter which one chosen does 1 a For a variable dot printer when aia he mM the Use Light Inks option is turned off there will be four 4 patches for each colour The first patch represents the media and the other three the dot sizes small medium and large A dot size for each colour must be chosen If the Colourspace is Gray Black will be the only available ink The image here shows an example using the patch 4 of Black and patch 2 of each Cyan Magenta and Yellow There is no need to measure the value for the
201. es the factory When the Phase One back is connected to the computer calibration data is transferred automatically The photographer need only specify light source scene characteristics and gray balance using the Phase One software THE MONITOR Next to the camera this is the most vital piece of equipment for the photographer Digital photography is difficult without an accurate picture of what the camera registers and what the printer reproduces Only high quality monitors should be used A Windows PC can have two types of monitor a CRT type monitor Preferably with a Sony Trinitron tube or a Flat Panel Active Matrix TFT No matter what type is preferred only high quality monitors should be used All newer monitors can be used with ICM the Color management engine include with Windows to ensure correct calibration ICM is compatible with the color management Page 457 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT technology used by Apple ColorSync and the two systems can use the same ICC profiles Although there are many methods used to calibrate monitors Electronic devices to place on the monitor monitors with auto calibration features etc Phase One recommends the following simple methods for good results No special equipment is needed Although there are many methods used to calibrate monitors Phase One recommends the following simple methods for good res
202. ess we need to be able to alter the balance of its RGB brightnesses while keeping their total brightness the same 4R 2G B R 2G 48 To adjust the saturation of a colour without effecting its hue or brightness we must also be able to alter the brightness of its complementary colour without effecting the brightness of the dominant colour 4R G B 4R 2G 2B gt 4R 40 48 To adjust the brightness of a colour without effecting its saturation or hue we must also be able to equally scale its RGB brightnesses without altering the ratio between them Page 169 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT BR 4G 2B gt 4R 2G B The separation of LUMA from CHROMA in an RGB working space goes a tong way to fulfilling these criteria The errors or slippage in how Photoshop organises and displays RGB values its destructive tendencies its prepress and web bias quantisation errors interface conflicts and contradictory terms and concepts can be simplified if not eliminated through the eloquent separation of LUMA and CHROMA This also corrects Photoshop Curves and related commands and tools displays colours in their correct brightness order and proposes a common nomenclature turns chroma and hue that unifies an otherwise disjunctive approach to toot sets and interface design It even renders Photoshop more user friendly if for no other reas
203. ess of the bottom layer saturation has to change rather than being preserved as the literature claims If the blending modes were operating in a HSB model then they would work as described but Photoshop does not support this colour mode apart from HSB readouts in the info palette and Color Picker The layers being blended are matrixes of RGB numbers not HSB numbers Therefore when the Color blending mode combines the hue and saturation of the top layer with brightness of the bottom layer the net saturation has to change because saturation is an expression of the ratio of the brightest to darkest RGI3 channels which also equals the neutral density in the colour i e its saturation Because the luminosity of the underlying layer will represent a different ratio of lightest to darkest channels compared to the saturation ratio of the upper layer there must be a net change in overail saturation when preserving the underlying luminosity Brightness and saturation are Page 142 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT not separate qualities but related qualities Photoshop s Color Picker includes the HSB colour model where saturation can be changed independently of the brightness and hue and 100 saturation and 100 brightness represents the most vivid colours But when altering the saturation percentage in the Color Picker the RGB numbers and Lab and CMYK numbers also change
204. essing Valid File Types include Postscript PDF JPEG TIFF Image Serendipity Megarip Image EPS PNG e Location Select a folder as a DropFolder The folder must exist and have read write permissions e Default Reset the DropFolder location to the default one Serendipity Megarip installation directory drop Pagesetup Pool Name e Printers Choose to publish the Pagesetup Pool as a printer so machines on the network can select it and print to it directly from applications o Mac or Windows Choose either Mac AppleTalk or Windows The Pagesetup Pool name is used as the printer name Page 262 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT JOB QUEUING Control the way queue TCP Port Publish the Pagesetup Pool as a TCP Port to allow Unix based computers or other Serendipity Megarip s to print to it Activate Port Number Enter a port number The hostname or IP address of the computer is used and each Pagesetup Pool has it s own port number Flow Control Select whether to hold the submitted file after Imaging or Rendering to prioritise jobs or make rendering attribute changes before releasing the pools work and the importance of the leh Thietueing einer ty Vans Tage geh Load Balance nig By Print Acme ee By Puen c exem Prot Tis All fepri Priority Assign a priority to a Pagesetup Pool The lower the number the higher the priority Nu
205. ethod but less accurate Choices are made as the closest pixels from input to output and can result in jagged edges or stepping effects Bilinear A medium quality sampling method and can take longer than Nearest Neighbour Bilinear takes the weighted average of 4 pixels from input to output Best for use with screened data Bicubic High quality sampling method which takes longer to calculate than Bilinear Bicubic uses the weighted average of 16 pixels from input to output This is the default option for any new Pagesetup s created Filtered Serendipitys own sampling method giving the highest quality It takes longer to process than Bicubic and uses an averaged area from input to output This setting provides better resampling for contone data such as Postscript and PDF Page 256 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Loco Position your own company logo sign off slugline or colour bar for checking consistency anywhere around the job The logo passes through the same colour management as the job and can therefore be verified The file is not rotated during output except if Auto Rotate When Nesting is enabled If the logo file is positioned along the left or right sides the EPS file should be created in the appropriate orientation e Enable Logo Turn the Logo effect on or off e Dimensions Enter the print dimensions of the Logo e Logo File
206. fied Tiles Tiles a job that is larger than the width amp height specified If required an overlap can also be entered Useful for large posters or billboards o Best Fit Width Best Fit Height Best Fit Width amp Height As Fit but wil shrink or enlarge jobs to fit fill dimensions entered while maintaining proportions Page 259 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Note If the Fit or Best Fit options are chosen and the width amp height fields are left at 0 the Fit will default to the media width and height as defined in the Media assigned to the Pagesetup when printing see Media for details e Rotation Choose from None 90 180 or 270 degrees Automatic rotation may also be selected to best fit the job using the media width and height specified Note Auto Rotation is very useful for saving media but if a job is rotated it takes longer to process the larger the job the longer the process time Rotation takes place at the beginning of the Rendering phase and will affect cropping margins and so on If you are auto rotating when nesting See Nesting in the Output section it is advisable to have Sheet Auto Rotation turned off otherwise the job rotation will be calculated twice again increasing the process time Increasing system memory can also improve processing times Page 260 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMEN
207. figure ground spatial relationships The IVUE tone reproduction curves were adjusted to create a yellow green shadows and powder blue highlights split tone The effect was adjusted until the warmer more yellow ground shadows advanced towards the viewer at the same rate that the cooler more blue figure highlights receded away from the viewer This created a claustrophobic background that curled around the figures intruding into their family space This completed the foundation print as a basis for all further edits Page 44 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Red Green and Blue IVUE Tone Reproduction Curves STAGE 2B Selective dodging lighten and colour balancing warmer skin tones During the initial Type C print subtractive exposure the figures are 10caiJy dodged lightened to intensify the modelling and drama within the family group Exposure changes in Type C printing also change the print s colour balance These shifts in tone and colour were created and locally added Page 45 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT to the digital print as follows aa pe ee KA 28 l E k i A second version of the original B amp W image was added to the layer stack its shadows and mid tones lightened and a subtle magenta colour cast added These
208. files and Media Output profiles Force Relative Colourimetric Media White Various ICC profiling packages and some older ICC v2 profiles included an Lab value for media paper white in the Relative Colourimetric Intent LUT This has the effect of printing a paper layer when printing with Relative Colourimetric rendering intent When enabled this option ignores the Lab value for paper in the Relative LUT leaving paper white areas unprinted CMS Dithering Disabled by default Use CMS Dithering for smoother results whenever conversion between 16 bits to 8 bits is required Working Paths lists the default location of the paths the Server FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT uses to process jobs e Raster Holds all the imaged rendered and print jobs while they are live in the system e Spool The location where the job is spooled prior to processing e Temp After spooling the job is moved to the temp directory where it is worked on e Drop The default location for the DropFolders The Raster directory holds all jobs while they are in the system and as such can be very large If this is moved it needs to be placed on a disk with plenty of space A Server restart is required if any paths are changed in order for the changes to take effect Page 411 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT CLIENT
209. first published by Morgan amp Lester New York beginning in 1948 and consisted of five books Adams 1948 These books are based on the advanced craft of black and white photography and extol Adams craft as an art form This series was subsequently revised enlarged and reprinted as the New Ansel Adams Series consisting Page 22 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT of three books with The Camera first published by the New York Graphic Society Boston in 1980 The Negative in 1981 and The Print in 1983 This series was again updated and republished posthumously in 1995 by Bulfinch Press and remains currently in print It could also be argued that Adams as a leading exponent of straight photography in the mid 20th century was also responding to the lingering Challenge of heavily manipulated photography as espoused by Pictorialists and Salon photographers like William Mortensen 1897 1965 Pre dating Adams from 1932 to 1956 Mortensen had published his own series of instructional photographic books whose general for mat was mirrored by the Ansel Adams Basic Photo Series Mortensen 1932 1956 It is only recently that an attempt has been made to include Mortensen in the canon of fine art photography Coleman 1998 Dominated by Beaumont and Nancy Newhall and the artists like Ansel Adams and Edward Weston that the Newhall s openly sup ported in their collections
210. formation in Printing Inks Setup depending on whether the use dot gain for grayscale option is enabled When we need a fast approximation to luminance we use 30 red 59 green and 11 blue This gets used in things like Luminosity mode and is the gray channel option supplied in the Calculations and Apply Image dialog boxes Mark Hamburg one of the lead Photoshop 4 engineers at Adobe quoted in Biedny 1998 p 30 However since luminance is intended to represent the effectiveness of the various stimulus wavelengths in evoking the perception of brightness it is often erroneously assumed that the Y tristimulus value produces a direct estimate of perceived brightness Fairchild 2005 p 1 19 Yet Photoshop luminosity functions continue to be based on these static un adapted legacy calculations The brightness of colours depends not only on their luminance as evaluated using the V X function but also on their chromaticity for a given luminance the brightness increases as the chromaticity becomes increasingly different from the achromatic stimulus white or grey Hunt 2004 p 679 That is the brightness of a colour increases as saturation increases This is how the master saturation slider in Photoshop s Hue Saturation command works But increasing brightness with a Photoshop RGB Curve decreases saturation which is opposite of our experience that as the object falls into deep shadow it becomes darker Page 127 of 503
211. g Only available when the status is Done Move to Pagesetup Moves the selected jobs to another Pagesetup This will send the jobs to the rendering queue again with the attributes of the selected Pagesetup View the Pagesetup edit it or create a new one prior to submitting the job Copy to Pagesetup Copies the selected jobs to another Pagesetup This will send the jobs to the rendering queue again with the attributes of the selected Pagesetup View the Page 301 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Pagesetup edit it or create a new one prior to submitting the job Nest Jobs Submits the selected jobs to be nested This sends the job to the rendering queue to re renderfora nest The Collating section of the Output is used for the nesting parameters Nest Now This is available when the selected job has a status of Waiting to Nest Only one job needs to be selected and all jobs with a Waiting to Nest status will be nested Duplex Now Duplexes any job that has a status of Waiting to Duplex Only one job needs to be selected and all jobs with a Waiting to Duplex status will be duplexed View FlipBook Opens the selected job or publication in FlipBook If the selected job is part of a publication all pages will be shown Select Publication Selects all the pages jobs in the QueueManager belonging to the same Publication asthe selected job
212. g in ProPhoto the user must stay in 16 Bits Channel for the entire editing process Converting to smaller color spaces in Photoshop s main editing space usually results in loss of data in the channels regardless of the rendering intent selected in the conversion process This loss of data may not be immediately obvious if you do not check the histogram after the conversion process The data loss is most apparent in bright saturated colors where texture and fine detail may be missing as the color information in the individual channels has become clipped in the conversion process CHOOSING A BIT DEPTH STEP 4 Select the Depth in the Workflow Options click on the blue text at the base of the ACR dialog box If the user selects the 16 Bits Channel option the 12 bits per channel data from the image sensor is rounded up each channel is now capable of supporting 32 769 levels In order to produce the best quality digital image it is essential to preserve as much information about the tonality and color of the subject as possible If the digital image has been corrected sufficiently in ACR for the requirements of the output device the file can be opened in Photoshop s main editing space in 8 bits per channel mode However if the digital image has further corrections applied in the 8 bits per channel mode the final quality will be compromised Sixteen bit editing is invaluable if maximum quality is required from an original imag
213. g on To do this 1 Choose Add Printer in the printer section of Windows 2 Choose a Local printer 3 Create a new local port 4 Enter lt machine name gt lt printer share name gt eg tanglefoot HP T1100 on tangy 5 Select an appropriate driver Use the one for the printer or choose the generic one as the Server will create the file in the correct format 6 Enter an appropriate name for the printer 7 Decide if the printer will be the default and if it will be shared there is no need to share the printer for Serendipity Megarip to connect to it 8 In the Destination section of the Workbench select Local Print Queue as the driver Deninalion 9 Enter the path of the D salis Dukar icimga local name used For this example it is T1100 on tanglefoot Path T11 Ol crit ni cei Page 435 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Note Whenever you are printing to a local or remote printer the QueueManager will report the job as Done very quickly This does not mean the job has printed successfully As the destination is a print spooler as soon as the job is passed to the print spooler the QueueManager is finished with it Some control is lost from within the Client interface as jobs will be passed as soon as they are done unless you set print pages direct on the printer properties If there is a probl
214. g the control to the left has the opposite effect The Midpoint control alters the amount of the frame affected by the vignetting correction Higher settings concentrate the corrections to the corners of the frame Note gt Post crop vignetting controls have been moved to the new Fx pane Instructions for applying this adjustment along with adding grain to your photo can be found in later in the chapter Project application To apply lens correction in the example image click on the Profile tab in the Lens Corrections pane in Adobe Camera Raw Select the Enable Lens Corrections setting and choose Sony DT 18 200mm f3 5 6 3 Sony A 700 from the Make Model and Profile menus STRAIGHTEN CROP AND SIZE STEP 2 Start the process by straightening and cropping the photo Select the Straighten Tool on the top left hand side of the ACR dialog box Click on one end of a part of the framing in the roof structure that is meant to be horizontal and drag Page 479 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT the cursor to the other end and then let go of the mouse button to automatically straighten the image Cropping in ACR does not delete pixels but merely hides them and these pixels can be recovered if necessary Crop the image to the correct aspect ratio or shape using the Crop Tool Select one of the existing aspect ratios or create your own using the Custom command found i
215. gam The ROB Levels histogram collates the individual red green and blue levels of brightness of each image pixel as displayed in their individual red green and blue histograms In this sense it displays the totality of pixel levels interaction in the image N Cut soa D an a zl co gt cm Carem m oat P i see m E MEL oman Cumin B TES PP Oain B UN FP o w x WIP _ 3 one lo eeu em 3 ose Photoshop CS2 Red Histogram Photoshop CS2 Green Histogram Photoshop CS2 Blue Histogram Photoshop CS2 Red Histogram Photoshop CS2 Green Histogram CS2 Blue Histogram This demonstration belies the underlying simplicity of pixel levels relationships where each image pixel is the analogue of a point of lens projected reality reduced to red green and blue brightness levels within a fixed range typically from 0 to 255 Image adjustments alter input and output levels and pixel ratios which are respectively controlled by transfer curves and matrix functions Cropping the dimensions of an image is a Simple edit though creating an A4 page at 300ppi is problematic because Photoshop can not represent Page 85 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT anything less than a whole pixel so 2 10mm x 297mm becomes 209 97mm x 29701 mm 2480 pixels X 3508 pixels 4 Though the goal of professional practice is never presumed t
216. gamut Not only must we take into account the limited range of colors that can be reproduced as the image moves from the camera to the final print we must also be aware that the gamuts do not always fit inside each other Sometimes gamuts can overlap shift or expand in any direction Profiles are used to compensate for these reductions and shifts Page 451 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT COLOR MANAGEMENT FOR MAC SETTING UP THE HARDWARE THE CAMERA Every Phase One camera back is calibrated before it leaves the factory When the camera is connected to the computer calibration data is transferred automatically The photographer need only specify the light source the scene characteristics and the gray balance using the Phase One software THE MONITOR Next to the camera this is the most vital piece of equipment for the photographer Digital photography is difficult without an accurate picture of what the camera registers and what the printer can reproduce eo ColorSync Eag A f Show All Displays Sound Network Startup Disk f Defauit Profiles CMMs Use this panel to specify default profiles for each color space to be used when a document does not contain embedded profiles RGB Default Adobe RGB 1998 CMYK Default Offset print Euro Catalog aes Gray Default Generic Gray Profile A Mac can have two types
217. ge Wilhnore 2004 p 227 Anchor points are assumed to function in the same way allowing specific areas of the image to be adjusted independently of other areas The same instructions are repeated over and over without question Using Curves it is possible to measure individual colors see the range of colors they represent on the curve and then only change that color range Haynes 1995 p 43 1997 p 63 1998 p 69 This understanding goes back to the earliest Photoshop literature For example the Curves description in the Adobe Photoshop 3 0 User Guide states Using the Curve Dialog Box Like the Levels dialog box the Curves dialog box lets you adjust the tonal range of an image However instead of making the adjustments using just three variables highlights shadows and gamma you can adjust any point along the gray level scale while keeping up to 15 other values constant Click any points on the curve you want to remain fixed For example if you want to adjust the midtones while minimising the effect on the highlights and shadows click the quarter and three quarter points on the curve You can add up to 15 points to the curve to lock those values as you make adjustments To remove a fixed point from the curve drag it off the graph Drag the curve until the image looks as you want it Adobe 1994 Successive versions of Photoshop have augmented instructions on how curves work but are not Page 110 of 503 FINE ART P
218. ged our photographic circle of creative collaborators to include programmers computer scientists geeks and visionaries 4 We have evolved from an era dominated by chemical optical and mechanical processes to one Page 73 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT dominated by electronic optical and mechanical processes Though many extraordinary photographic projects still rely on chemical processes their in creasing rate of extinction signals the fundamental change that digital photography represents for many people Once upon a time I Il send you some prints if they turn out was a common refrain among amateur photographers Today almost unlimited and cost free electronic images provide us with instantaneous feedback choice and satisfaction The technological distinction between amateur and professional photographers is fading as everyone exploits the same cameras computers processes and software Established fine art theories of disinterested seeing committed photography spiritual reunification political narratives self expression and even the credo I photograph therefore am remain no less relevant despite the move from chemical to digital processing Digital minilabs are being set up in lounge moms and garages bringing with them the significant environmental and occupational health and safety benefits of electronic proce
219. ggles the view of the Property panel F2 can also be used Template Toggles the view of the Template panel F3 can also be used Sidebar Toggles the view of the sidebar containing the Asset Property and Template panels Section Headers Toggles the headers of each section within the sidebar under the Asset Property and Template panels As an added option holding down the spacebar when moving the mouse will pan around the Layout area similar to a navigator used in graphics applications Page 384 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT LAYOUT AREA The Layout area is where jobs assets are laid out for nesting and or tiling The area is surrounded by a ruler marked with the user defined units appropriately scaled to the current zoom level All assets and frames are shown at accurate relative size The dark gray area is the work surface onto which assets are placed and positioned If tiling the edges of the total area to be tiled appear on the work surface as a red box LOADING STORED TEMPLATES Stored frame layouts can be loaded from the Template library by double clicking the name of the saved template Assets dragged into an existing frame are resized to fit or fill rotated and cropped according to the frame s settings Assets dragged into a selected group of frames are duplicated and placed into every frame in the group POSITIONING ASSETS FOR NEST
220. ght reddish tinge to the Black which is desirable in the Screen Printing industry Page 282 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT MONITOR The Monitor application is central to the Megarip Client interface It displays jobs before during and after processing and allows users to manage jobs through the system to plot their progress The Monitor provides feedback from the Server and Client via logs Modules can be added and configured to suit specific requirements TI ABENNR S nesT mania inann 28a B04 dd Witte mi The Monitor consists of one or more user defined tabs Modules are added positioned and sized according to individual preferences Settings are saved at the Client level enabling Serendipity Clients on different systems or in different departments to display information appropriate to their location The Monitor can be in one of two modes Edit or Use Page 283 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT EDIT This mode allows the user to move and resize modules on a tab The mouse pointer changes to a cross when in Edit mode Resize a module by grabbing the corners or sides and dragging to the preferred size Click anywhere in the modules and drag it to the desired position Modules close together will snap to each other While in Edit mode all Monitor Modules have a contex
221. graphy Its separation also reveals the depth of the lens s drawing in its rich and varied ways and privileges a relationship in Western art that has been argued dates back to at least the 1430s Hockney 2006 Showing the correct brightness order of colours is another advantage of separating the colour composition CHROMA from the tonal composition LUMA The young woman s lipstick red lips appear to be much redder than her skin Anchor points placed Page 152 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT on the RGB Curve and individual red green and blue curves provide a different interpretation they each place her lips at the lower less bright of the two anchor points Her lips might be darker than her skin but it is the sensation of the colourfulness of her lips their redness chroma that dominates her appearance Only the red CHROMA layer and red CHROMA curve a curve clipped to the red CHROM layer illustrate this relationship correctly CHROMA layers and curves evoke a colour appearance order that accords with how we see and experience colour Sfi i i Colour Layer colour composition Red Chroma Layer This correct brightness order is also clearly visible in the colour layer and the red CHROMA layer but is not visible in the RGB or Red channels of the unseparated Page 153 of 503 FINE ART PHOTOGRAPHY POSTGRADUA
222. graphy p 1363 is always portrayed as fundamental skills indeed as essential creative tools in the darkroom Burning in is an art and like dodging needs practice practice and still more practice Todd 2001 p 106 The oldest continuously in print manual of photography the Ilford Manual of Photography describes the practice as follows It is no exaggeration to state that a straight Page 96 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT enlargement from any negative is seldom the best that can be obtained and with the great majority of subjects landscapes portraits architecture or technical a little local shielding of parts which print too deeply or the printing in of detail in some especially dense part of the negative will work wonders Control of this kind may be used to compensate for uneven lighting of the subject or to give added prominence to any given part of the composition Professional workers usually find it quickest and simplest to use their hands Horder 1971 p 384 Ansel Adams believed good printing is not a simple process Once we arrive at the optimum printing combination there may very well be individual areas in the print that are not yet satisfactory and we must consider the dodging and burning that will be necessary Adams 1983 p 10 1 The literature highlights the priority that the local redistribution of light
223. grayscale first Do this by selecting the Convert to Grayscale option in the HSL Grayscale pane first Then move back to the Split Toning pane and adjust Highlight and Shadow Hue and Saturation and then the Balance point to suit Note gt Don t restrict your split toning activities solely to the realms of monochromes The feature can also be applied to color images as well providing some rather unusual but striking results Project application Split tone the project image so that the highlights are tinted traditional sepia brown and the shadows contain a slightly blue tinge ADDING SPECIAL EFFECTS STEP 10 The post crop vignetting features that sat with the lens vignetting options in the Camera Calibration pane in the previous releases has been moved to a new tabbed pane in ACR6 called the Fx pane You will also find a new Grain feature included in the pane as well Remember that because both these artistic image adjustments are applied in Adobe Camera Raw they are added nondestructively to the photo This means that not only can you return to the settings used and make changes when needed but it is also possible to remove the effect totally without any residual Page 501 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT changes being left in the original photo Grain New for ACR6 is the ability to apply a grain effect to you photos The feature conta
224. h Photoshop s Burn tool to reconstitute the feeling Page 95 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT of being in that space All gradients have the power to create depth Arnheim 1971 p 311 While the use of Photoshop s Burn tool resulted in the desired change darkening the foreground it also produced two unwanted changes a significant hue and saturation shift For example the orange bricks at the base of the statue were on average changed from Original Hue 25 Saturation 43 Brightness 54 After Burning in Hue 21 Saturation 68 Brightness 29 The 15 decrease in brightness which was the desired effect has been accompanied by a 4 Hue shift redder and a 25 increase in saturation Burning in with Photoshop s Burn tool resolved one problem the foreground was too light but generated two new problems it is now the wrong colour and too saturated Consequently it doesn t look right and the hue and saturation shifts will need to be corrected The Photoshop Burn tool s icon is a cupped hand reminiscent of local manual burning in controls in the analogue darkroom Adams 1950 p 65 73 Adams 1983 p 1 02 116 Photoshop s Dodge tool s icon is even more reminiscent of traditional darkroom dodging tools Kodak 1982 p 75 Dodging amp Burning sometimes also referred to as Shadow amp Spot Printing Focal Encyclopaedia of Photo
225. h it remains the subtext of encyclopaedias of photography We craft our ideas no less so than our objects Digital photography simply presents us with the most efficient mimicry we have invented to date As the advertising for Live Picture image editing software promised over a decade ago processing at the speed of our imagination may in fact be our new reality Live Picture 1997 We have known for a long time that the most exquisite chemical processes the most elegant mechanics the most beautiful optics and the most precious materials could Page 80 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT not on their own make 5 successful let alone great photograph It is our collaboration and acknowledgment our sharing and facilitating that make the difference For we really only make sense of our processes through our actions It is not our out comes nor their intellectualising but in Paul Caner s words our material thinking that renders our desires Carter 2005 Our production whether facilitated electronically physically or chemically remains the craft of our imagination NOTES 1 This was the catch phrase driving Kodak s 2004 Australian television advertising campaign 2 Leica announced its long awaited M8 Digital Rangefinder camera on 14 September 2006 3 DXO Optics Pro was announced on 4 February 2004 with the first public release on 24 Ma
226. h master curves like the RGB Curve There are no unexpected occurrences such as the inconsistent hue and saturation changes produced by RGB Curves It is only when editing desaturated images that the RGB Curves do not produce these unwanted shifts Increased saturation represents a greater difference between the darkest and brightest colour channels and the more saturated the colour the more significant are the hue and saturation shifts This behaviour can be explained by examining the plots of two different colours 128B a 64R 192B g The neutral RGB triplet 128R 128G 128B has a LUMA point on the RGB Curve that corresponds with its actual Red Green and Blue values The coloured RGB triplet 64R 128G 192B has widely spaced Red Green and Blue values When any point on the RGB curve is moved for example if 128 levels input is raised to 148 levels output the same number of levels is not added to all the other points on the curve Page 108 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT While the neutral RGB triplet simply becomes 20 levels brighter the coloured triplet s points located furthest from the edited point will be less affected than closer points Increasing Green by 2068 20 levels only Raising 128 levels input to 148 levels output increases Red and Blue by 14 levels This also represents a variable percentage change in the brightness
227. he Medieval World 580 34 Pearson Education Inc What Colors Mean Fact Monster 2007 on line article available from http www factmonster com ipka A0769383 html Internet accessed 18 June 2009 35 Wikimedia Foundation Inc Color Symbolism 18 November 2010 on line article available from http en wikipedia org wiki Color symbolism Internet accessed 19 January 2011 36 John Gage Color and Meaning 33 37 John Gage Color and Culture 83 38 John Gage Color and Culture 120 Page 471 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT RAW PROCESSING INTRODUCTION One of the big topics of conversation over the last few years has been the subject of Raw files and digital negatives During this time the capture format has gone from being an option for high end work only to a key part of most professionals workflows For this reason we have reworked much of the content of the book to take into account Raw enabled workflows In the last chapter we looked at the first few steps involved in optimizing a digital capture be it rawbased or TIFF or JPEG And you will have noticed that we suggest that these basic steps should be undertaken in Adobe Camera Raw irrespective of if you shoot in jpeg Tiff or Raw Here we will delve further into Raw processing and pay particular attention to the other editing and enhancement opt
228. he Modules menu There are nine 9 modules to choose from e ClientLog Displays a log of Client messages that may be generated during normal Client operations e ClusterStatus Monitors the progress of Imaging and Rendering tasks on the Server and any active Cluster Nodes e DropZone A place to drag and drop files for processing e MediaStatus A window showing the current calibration status of a Media data type and a progress bar showing the amount of media e g Paper used e QueueManager View and manage jobs after they have been submitted for processing e QueueStatus A progress meter showing the current status of active jobs on the selected queue e ServerLog Displays any system error and polling messages from the Server e Status Shows the disk status usage of the Server processing areas e Thumbnail Displays a thumbnail of jobs as they image or render Page 287 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Page 288 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT CLIENTLOG The ClientLog displays any messages that pop up during normal Client operation There are different levels of message from informative to serious errors All messages are held for a user determined length of time e Fetch back log Displays the log for the time specified For example it retrieves and di
229. he Vibrance slider Image of Melissa Zappa by Victoria V erdon Roe Note Choosing a larger color space such as ProPhoto RGB where the colors rarely clip is only a short term solution The color gamut must eventually be reduced to fit the gamut of the output device ACR is currently the best place in CS4 to massage these colors into the destination space LOCALIZED CORRECTION STEP 8 In previous versions of ACR with the exception of the Spot Removal tool which corrected dust marks on small portions of the image all alterations were applied to all of the image This meant that for those of us who wanted to perform a seemingly simple operation such as a little dodging or burning we needed to transfer the file from ACR to Photoshop where the editing changes could be made Okay this is only a small inconvenience you may say but it was the changes made to the file during this transfer that had Raw devotees frustrated In moving the picture from ACR to Photoshop the file needed to be converted from its Raw origins to a standard file format such as PSD Photoshop TIFF or JPEG All the advantages of non destructive editing changes that constitute the very basis of enhancement steps in ACR are lost in the conversion Page 491 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT process There is no getting around the fact that after conversion any alterations applied to the dodged
230. he asset expands to fill the frame scaling to show as much of the image Page 391 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT possible given theproportions and centring options of the frame e Custom The dimensions and frame offset of the asset are independent of the frame This scaling is e selected automatically when Crop Mode is activated e Centring Check the box to centre the asset within the frame e Orientation The rotation angle applied to both the frame and the asset If custom scaling is used and the asset has different dimensions to the frame rotation is only applied to the asset TEMPLATE PANEL The Template panel is where saved nesting templates are stored Templates can be loaded into the nest area by double clicking on the title in the list This will display the empty frames within the Layout area ready for asset placement Selecting a stored nest for use will overwrite any nest and assets currently in the Layout area Templates may be imported or exported for quick and easy sharing among Studio applications a s amp NE E i FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT LG Page 393 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT APPLICATION MENU ITEMS The Megarip Application menu provide
231. heck application Once a chart has been printed and measured the results are saved to the Media and the Calcheck Info for the Media is updated in the MediaStatus window Media Order Configure which queues are viewed by the MediaStatus window Move Media between the Available and Showing columns in the popup chooser Show Extended Info Show Hide the Logged Period and Printed information for the selected Media Page 295 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Show Calcheck Info Show Hide the full Calcheck Info summary for the selected Media Metric Units Toggle between Metric or Imperial units for measurements shown in the MediaStatus window This is enabled by default Increase Decrease Status Width Increase or Decrease the width or all Media panels in the window Font Options Change the size of the text in the window Page 296 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT QUEUEMANAGER The QueueManager displays information about submitted jobs and the jobs current status Queues can be viewed simultaneously showing job progress through Imaging where the incoming file is interpreted and its resolution sampled for conversion to the print resolution Rendering where colour management cropping rotation and effects are applied for printing and Printing The QueueManager also all
232. heck Chart for printing and the Pagesetup and Media to submit the chart to The chart will be printed in a configuration suitable for reading by the chosen instrument MONITOR MODE e Instrument Choose which display Spectrophotometer is to be used for measurement from the list of supported instruments e Measurement Type Select which of the nine 9 areas of the monitor to Calcheck or choose 3x3 grid of screen to sequentially check all areas of the screen Pass or fail Page 320 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT results will be displayed on the Monitor Area Toggles as each area is calchecked Note Before calchecking a monitor it is recommended that the monitor be calibrated to the required ICC profile using the MonitorCalibrator application see the Applications MonitorCalibrator section for more information MENU OPTIONS The following options are available from the Calcheck menu or the contextual menu right click from within the Calcheck application e Load Media Select a Media to load into Calcheck Any Media that have been calchecked previously will display complete results of their last Calcheck A new chart can be printed and or new measurements taken and the results updated to the Media e Check Media Select a Media to be measured This options assumes a Calcheck Chart for the Media has been printed It immediately opens a window
233. hich gives an indication as to how much of the current job has printed e Font Options Change the size of the text e Queue Order Select which queues view Selecting this presents a chooser window showing two lists The Available queues on the left and the Showing queues on the right To move queues between lists select one or more and drag from one list to another Alternatively double click to move between Page 305 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT lists The order of the queues in the Showing list determines the order of display Queue Order can be used to show multiple Queues e in a single QueueStatus window fflIncrease Decrease Indent Increases or decreases the size of the QueueStatus in view Double clicking the QueueStatus window displays a floating QueueManager window showing that queue This has the full functionality of the standard QueueManager SERVERLOG The ServerLog shows messages from the Server e Fetch back log Displays the log for the time specified For e g it retrieves and displays the last 4 hours of messages Choose the time from the pull down list e Trim older lines Trims the log based on the time selected in Fetch back log If this is set to 60 minutes the log file is trimmed back so only the last 60 minutes remain e Export Export the log to a file Selecting this displays a window with further options as deta
234. his Date Reverts the linearisation curve assigned to the Media to the selected historical previously measured curve Unload Unloads the historical curve data being viewed in the Measurement panel and loads the currently assigned curve Curve Name Displays the name of the Linearisation Curve currently selected This can be the saved curve assigned to the Media or a selected History item Last Linearised Located top right above the measurement panel Last Linearised displays the date and time the printer media combination was lastlinearised The display shows the colour coded linearisation patches for each ink channel The patch number and the Dot 96 it represents are listed across the top of the panel Measured Values Density or Lab are shown within each patch If no values are present the Media has not yet been linearised Yule Nielsen Number Enter the YN number if known for the media in use The default is 2 The Yule Nielsen number or N Factor is used to compensate for dot spread on Page 344 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT different media types This is basically a fudge factor added to the standard Murray Davis formula used to calculate dot area from a density reading An N Factor of 1 means no compensation is made and just the Murray Davis equation is used An N Factor of 2 seems to work well with most media types As adjus
235. hnology used in Lightroom and ACR for interpreting the colors and tones captured by the camera Camera Profile TEAN adobe Standard na Shadows Red Primary Hut ie Saturation Green Primary Blue Primary Camera Calibration section in Camera Raw Though daunting to start Page 48 An xRite ColorChecker Chart FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT with the options found under the Calibrate tab do provide an amazing amount of control and are used by many professional photographers to profile the way that the color from their cameras is interpreted by the Raw converter This is particularly useful for building a profile for neutralizing the casts that are present in images photographed under mixed artificial lighting conditions Given the level of complexity involved in this process Most photographers simply do not bother preferring to use the general profiles supplied by Adobe for their specific camera CUSTOM PROFILE CREATION Now for those of you who really like to tinker under the hood you can create your own custom profiles which in turn leads to better color capture The process involves photographing a reference board like the xRite ColorChecker Passport under The ColorChecker Passport reference target the lighting conditions that are typical for the scene The Raw file
236. ht to determine whether analogue techniques could be integrated with and influence the development of digital imaging and in particular the tradition and practice of fine art photographic colour print making e n investigating the differences between digital imaging systems wanted to evaluate how the technology methodology and aesthetic of these Page 30 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT systems might challenge develop and improve artistic creation and production e n investigating digital photography software applications wanted to determine how they functioned as tool sets and facilitated workflows and production strategies within the evolving practice of fine art photography The research also sought to re evaluate and integrate existing but disparate bodies of knowledge on analogue and digital colour printing technology theory and practice into a Cohesive interrelated methodology aimed at unifying colour printing theory and practice in the tradition of the fine print in the field of fine art photography and in the age of digital reproduction NOTES 1 Little Brown and Co acquired the New York Graphic Society and in 1989 renamed it Bulfmch Press 2 An earlier exhibition of his work curated by Deborah Irmas was held at the Los Angeles Municipal Art Gallery in Hollywood in 1979 Irmas 1979 It placed Mortensen in the tradition of California Pic
237. ia data type Each Media displayed in the MediaStatus window has the following information e Media Name e Calcheck Status Toggled via the Calcheck Info option see below Displayed as one or more Ticks Crosses to the right of the Media name showing a Calcheck Pass or Fail against the user definedfE A2H orZiC Hover the mouse over each to show a tooltip displaying thefiMax andBlAvg values e Usage Meter Bar showing the amount of media used Text under the bar states the exact amount used as a percentage of the total units e Reset Counter Resets the usage count for the Media Page 294 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Logged Period Time period date and time from and to the Media has been tracked since the last reset This information is shown hidden using the Show Extended Info option Printed Number of jobs and total printed area of jobs tracked since the last reset Calcheck Info Displays the complete Calcheck summary information for the selected Media resulting from the last Calcheck Includes the Calcheck Chart used internal Calcheck score Date Time of Calcheck andEBlvalues A contextual right click menu has the following options Change Media Change the selected Media for display in the status window Edit Media Edit all or part of the selected Media Copy it or create a new one Calcheck Media Opens the Calc
238. iaiog box 2 osten To adjust the color balance of the image choose the channel or channels you want to adjust from ihe Channel menu To edit a combination of color channels at the same time Shift select the channels in the Channels palette before choosing Curves The Channel menu then displays the abbreviations for the target channels for example CM for cyan and magenta The menu aiso contains the individual channeis for the selectec combination Keep in mind that this method does not work in a Curves adjustment layer 3 Add a point along the curve by Going one of the following Click directly on the curve RGB images only Ctri click Windows or Commana cliek Mac OS a pixel in the image Ctrl Command clicking pixels in the image is the best way to add points when you want to preserve or adjust speofic details in an image To remove a control point drag it off the graph select it and press le or Ctri or Command chck Mac OS it You cannot delete the endpoints of the Curve Page 89 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Note In general only small curve adjustments are necessary to make tonal and color corrections to most Previous Next Top Making Color and Toos Adiustments gt Using the Curves dialog box Photoshop Adobe Photoshop CS Help Menu with my highlighting To adjust color and tonality with Curves 1 Do one
239. ial effect portrayed in all published Photoshop literature Blending on Luminosity only slightly moderates the effect as the Brightness and Saturation are still changing Page 114 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Editing an anchor point on the Green Curve rather than the ROB Curve also results in Hue Saturation and Brightness being altered by any change in brightness though unedited anchor points now do not change their values Anchor points therefore only lockdown points on a single channel curve and Hue Saturation and Bright ness can t be independently edited in an RGB colour space Photoshop s mathematical blending modes many of which were available in earliest versions of Photoshop are occasionally referred to as the way to independently edit hue saturation and tone Applying Levels Curves Hue Saturation and the other adjustments as adjustment layers offers tremendous flexibility and power but is isn t a ways the quickest or easiest way to fix your images Also while these tools are powerful and essential to learn they don t really relate to anything we did in the wet darkroom they re much more akin to the controls on pee press scanners than to anything photographic The layer blending modes open up an entirely different way to edit images Blatner 2006 p 350 Some otherwise authoritative texts don t mention blending modes
240. iate queue The Studio user interface window is made up of four 4 sections Page 376 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT e The main Layout area where jobs assets are placed and nests created e The Asset panel displaying thumbnails of the assets available for nesting or tiling e The Asset Property Template Property panel defining the tiling document area editable media dimensions and frame properties e The Template panel where nesting templates can be saved for repeat use SUBMITTING A NEST OR TILES The Print option in the Studio menu opens a Submit Chooser window to send the manual nest to a Pagesetup and Media If tiling mode is active the option appears as Print Tiles opening a chooser window with the same options as previously mentioned NESTING It is not necessary to have dimensions entered for the Media when creating a manual nest When submitted the nest will print to the selected Media from the top left origin point printing as much of the width or length of the nest as the paper in the printer will permit Page 377 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT cropping the remainder A media guide sheet will appear to scale in light gray in the Layout area when dimensions are entered into the Media fields This allows for clear and simple placement of assets for
241. ibrary using the following command yum install name of library NSTALLING THE DONGLE DRIVER The first step is to install the dongle driver e Remove all USB SuperPro dongles e Navigate to the dongle linux directory on the installation DVD e Double click the sntl sud 7 5 1 0 i386 rpm file to install the driver Page 188 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT INSTALLING THE CLIENT e Navigate to the linux directory on the installation DVD e Double click the Install sh file and select Run in Terminal A terminal window will pop up and the installer will display the default installation directory e Press Enter to install or type an alternative path then press Enter Note If using an alternate install path ensure the folder exists and that the current user has read write execute permissions for the folder e When the installation is complete the terminal window will close Serendipity Megarip User Manual Version 5 2 9 Page 189 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT RUNNING THE SOFTWARE Once the software has been installed launch the Server and Client to begin the configuration The Server should be started first and allowed to complete its initialisation process before the Client is launched If the Client is started first it will attempt to connect to an active Ser
242. ibrated before leaving the factory Calibration information is automatically transferred to the computer when the camera back is connected to a computer All the photographer needs to do is to specify the light source the scene characteristics and the gray balance in the Phase One software The monitor It is important to get a good match between the monitor color temperature and the environment color temperature as well as ensuring that the monitor shows Page 446 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT accurate color and the best possible range of brightness and contrast The printer Often a printer comes complete with a profile a description of how it reproduces color The profile is used in the workflow to ensure the best possible reproduction quality The photographer may have a printer profile supplied by a customer or printing house In addition there is a theoretical fourth device The Profile Connecting Space PCS This can be considered the perfect device where every humanly visible color can be reproduced As the name Profile Connecting Space suggests this device actually forms a link between all other profiles It is within the PCS that the computer calculates the correct balance and correction when moving from one physical device to another THE PURPOSE OF PROFILES HUMAN VISION AND COLOR VALUES The visible spectrum is a very narrow
243. ice is now limited to just three The main difference between the three major spaces is the size of the color gamut the range of colors that each space supports There is not much point in working with a color space larger than necessary as the colors outside of the monitor space will not be visible and they cannot be reproduced by an output device with a limited gamut range The three color spaces are as follows sRGB This is the smallest of the three common color spaces with a range of colors similar to a typical monitor and should be selected if your images are destined for screen viewing or are destined to be printed by a print service provider using the sRGB color space Adobe RGB 1998 This space is larger than the sRGB space and is the most common color space used in the commercial industry where the final image is to appear in print It is a good compromise between the gamut of a color monitor and the gamut of an average CMYK printing press It is also a space that is suitable for some Print Service Providers and standard quality inkjet prints e g a budget inkjet printer using matte or semi gloss paper Page 481 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT ProPhoto RGB This is the largest color space and can be selected if you have access to a print output device with a broad color gamut larger than most CMYK devices are capable of offering When workin
244. ile to match the order used in Page 266 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT the ICC profile Often used for N Colour profiles A list of ink channels will appear Highlight and move using the up and down arrows or drag and drop inks to the required position e Upgrade Upgrades a legacy pre version 5 paper profile to the latest version DENSITY PATCHES This area shows the patches making up the Paper profile Each patch represents a dot size or combination of dots available to the printer being profiled The number of ink channels shown and the number of patches shown for each channel will vary depending on whether the printer has variable dot capability if it has light inks and if the light inks are configured to be treated as separate or combined channels These options are selected in the Output and Custom Settings of the Media chosen when creating the Paper Profile Before densities have been measured all patches will be turned on and will have default density values These densities are updated with the data input from the Measure Patches option e Patches can be turned on or off by clicking the upper half of the patch e Clicking the lower half of the patch allows for manual entry of density values for that patch number For colours that have visual and colour densities select the letter to enter a value for D for Density or V for Visual When enter
245. iled below Page 306 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT DISPLAY OPTIONS Destination File Choose the filename and location where the file is to be saved Use the Browsebutton to navigate to the preferred location Message Lines Choose to save all messages in the log window or only those that are highlighted Format Choose the format to save the file in either html or plain text The plain text file is saved with tab characters between the columns Cancel Revert to the Server window without saving any changes Save Save the file based on the settings selected Configure Filter Filter messages in the log Choose between the following options Completed Jobs Shows messages about completed jobs Polled Jobs Shows messages about polled jobs Errors Shows errors from the Server Search Search the log for messages Enter the text of characters to search for and the ServerLog will only display the lines matching the search Module This is the function that the Server used Routine This is the operation inside the function Date The time the Server called the module Message The message resulting from the routine Page 307 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT STATUS Status shows the current disk status usage of the Server processing areas such as spooling
246. ill stay locked down and not change their value when other points are edited This does not happen when an RGB curve is blended or faded on Luminosity It also means that the luminosity of any colour can be edited even 100 saturated colours like 255R OG OB OR 255G OB or OR OG 255B 8 bit Quantisation Errors e B memes Page 132 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT The same outcomes are achieved with OR 255G OB green and OR OG 255B blue What was previously impossible inconsistent and therefore beyond reckoning becomes a reinvigorated way of working Dividing the subjective properties of colour into individual processes negotiated without reservation establishes the basis for a consistent tool set and evolving methodology Only Photoshop s 8 bit quantisation errors compromise this outcome though they can eliminated with 16 bit transformations Original Image D Luminosity Edits Colorimetric changes 16 bit Quantisation Accuracy Working in 16 bits produces no measurable change in saturation even when the Luminosity Curve is lowered 50 levels from 76 to 26 This functionality is in perfect agreement with Fairchild s earlier observation as the object falls into deep shadow it becomes darker but saturation remains constant Fairchild 2005 p 86 The RGB Curve now operates as a true luminosity curve Editing luminosity independently of
247. in order to function To upgrade 1 Make sure the Megarip Server and Client are not running and remove any Megarip or any other SuperPro USB dongles from the computer 2 On the Megarip installation DVD navigate to the dongle windows directory and run the Sentinel Protection Installer exe file Alternatively download and run the latest driver installed from the Safenet website 3 Run the Sentintel installer 4 Select Upgrade and Next 5 Follow the onscreen instructions to complete the upgrade 6 Restart the computer INSTALLING THE SOFTWARE UPGRADE 1 On the DVD navigate to the windows directory and run the megarip msi 32 or 64 bit version file 2 Click Next to continue 3 Select the directory where Version 4 is installed and click Next Page 183 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT 4 Follow the onscreen instructions to complete the upgrade MACINTOSH INSTALLATION Administrator rights are required for the installation of the Macintosh version of Megarip If upgrading from V4 to V5 see the Mac OS X Upgrade from V4 to V5 section Note From Megarip version 4 2 01 onwards there is no separate dongle driver to install The driver is installed as part of the general installation package If installing v5 2 or above a dongle driver must be installed first INSTALLING THE DONGLE DRIVER MACINTOSH The first step is to install the
248. ineariser to obtain correct results MAXIMUM DENSITIES OVERRIDE The Maximum Densities Override allows the user to cap the top end density to any value less than the maximum value read If a value less than the highest value measured is entered the curve will change The top end will move down and the rest of the curve will adjust to compensate for the new end position The values in the middle of the curve will also change PROS AND CONS There are various arguments for and against setting a maximum density override In general the Match ICC profile would set the maximum density values so there should be no need to set them here However some users have found it to be an advantage to set the values to the target densities required for the final proof output and in doing so have achieved very good results Reducing the density of the output used to print the ICC chart will affect the gamut However as the gamut of a press is generally smaller than that of a proofing device this may not have any noticeable effects It is desirable to drop the top end densities of the output prior to ICC creation as sometimes there is a need to boost the values after ICC is applied This should only be used as a last resort and is not desirable as a general rule If the top end densities drop the ICC profiles are generally to blame and therefore should be corrected Page 350 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT J
249. ing advanced Chrominance Compensation that virtually eliminates fringing and other selection artifacts This significantly facilitates resolution independent image compositing without the typical cut out look of pixel editing applications A beta version of Live Picture was available for early adopters in late 1993 and the first commercial version 1 5 shipped in July 1994 at a cost of US 3 500 In January 1996 Live Picture released version 2 5 for the Apple Mac Power PC platform Its ability to handle high resolution files of unlimited layers in near real time and 16 bits per channel 65 536 levels resolution combined with a tool set that allowed the independent adjustment of hue saturation contrast and tonality in its native HSV colour space made it a compelling replacement for the controls offered by Page 35 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT the Kodak Dye Transfer process Digitally edited images could then be rendered out as very high resolution files and written back to film for conventional photographic optical enlarging or printed directly on a digital photographic or inkjet printer Unfortunately the literature on Live Picture was not as resplendent amounting to a single textbook Live Picture Revealed published in 1996 Karson 1996 An active internet discussion group http www livepicturegroup com andgrouparchiv es http J mail idnet net uk 81 l
250. ing to the selected Media Pagesetup combination e Studio Settings Opens the preferences for Studio e Display Units Choose the measurement units to be used in Studio from the dropdown list e Cloak Submitted Frames Locks images and frames after they have been submitted for printing preventing them from being edited Cloaked images appear shadowed Page 380 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT EDIT MENU Auto place Allows for the auto placement of assets onto the Layout area when dragging and dropping them The default position is top left If a job has already been placed in the area the auto position will align with the left side of the frame Auto place Spacing The distance between jobs being auto placed in the Layout area o Snap to Grid Allows for assets to snap to a user defined grid spacing measured from the left ruler The asset frame will snap to the closest defined grid position taking into account any auto place spacing settings as well Grid Size Define the snap to grid size for frame placement in the Layout area Undo Undo the last change made The amount of available undo levels is configured via the System Settings 0 operating system default Redo Redo the last undone change made The amount of available redo levels is configured via the System Settings 0 operating system default Cut Cuts the currently selected fr
251. ing values manually ensure the patch sort order is set to Patch Number Note If patches are measured in Lab mode each will display an L value rather than density values Page 267 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT 3 P e Fi rm TER Deb santa E Vaud Besar TI Lye pe ra eee dogm De gassssaags LLEW Dein Away uar Las jt L pisi y Pa D Fosa peda W 0773 Pressing Enter or TAB stores the value and moves to the next patch for entry Hovering the mouse over the patch number displays a tooltip providing information about the patch Note Hovering the mouse over an Lab measured patch displays a tooltip with patch information including the Lab value SIFT AND SORT OPTIONS When enabled the Sift and Sort options for each active ink channel allow users to set the patch order and sift for the optimal combination of dots for the printer to use for that channel Sift Uses one of several intelligent algorithms to select a suitable dot combination based on the density readings taken and the output device selected When used the popup DotSieve Algorithm Selector presents the available device ink Sift options The Sift selected patches can be switched off Page 268 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT or changed if alternate patches are more appropriate e Maximum Ink This field sets an ink c
252. ins three slider controls for adjusting the strength Amount Size and smoothness Roughness of the grain You can use this feature to mimic old world photos or provide a film like feel to your images kflow 1 Before adding grain 2 After addin Post Crop Vignetting The ability to apply vignetting adjustments to a cropped photo was first introduced in ACR 5 0 but has been updated for ACR6 This feature differs from the vignetting option found in the Lens Corrections pane where the vignetting changes are applied to the original full frame image rather than the cropped picture That approach is fine when used for correcting lens based vignetting but is not appropriate when photographers desire an artistic outcome rather than a lens correction solution This second set of vignetting tools provides the ability to apply such artistic vignetting to the cropped image and to automatically adapt to a new format if the cropping is removed or changed With the inclusion of different vignetting styles and a dedicated slider for highlight adjustments the updated version of the feature proves more greater control over the look of the vignette and how it interacts with the photo Paint Overlay is the style found in the previous version of the feature and Highlight and Color Priority options give Page 502 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT more weighting to eithe
253. investigated It is an unquestioned truth that editing a Curve lightens or darkens the image area represented by the edited Curve point The Help menus also state that 5Ctrl Command clicking pixels in the image is the best way to add points when Page 88 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT you want to preserve or adjust specific details in an image Points on the Curve remain anchored until you move them As a result you can make an adjustment in one tonal area while the other areas remain unaffected Adobe 2005 But there is no explanation of why Ctrl Command clicking pixels places only one anchor or lock down point on an RGB Curve rather than three points representing the respective red green and blue brightness associated with that pixel as occurs in Levels Adjusting color and tonality with Curves steeper se represent ns of an image with more contrast Conver fier sections of the curve represent areas of lower contrast in an image In the default state of the Curves dialog box moving a pue in the top portion of the curve the nighiignts Moving a point in the center of the curve pri and movi bottom section of tne mant the m i0 If you want to lighten MOVE up a point near om of the curve If you wa Garken highlights move down a pot near the top of the curve To adjust color and tonality with Curves 1 Open the Curves c
254. ion Page 164 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Combining each CHROMA layer with the LUMA layer reveals how the tonal and colour compositions interact to influence the spatial composition In a beautiful coincidence the CHROMA separations also resemble Dye Transfer printing matrices and both are the result of masking retouching and local tone and colour balancing techniques Luma Red Green amp Blue Chroma Luma Green amp Blue Chroma Gees These relationships can be TEE selectively renegotiated igo M ooer osu 2s 2s 000 with additional layer ii 73 eno and or vector masks both weg Je hand rendered or lens m drawn via the luminosity e of specific channels or CL mue layers For example the PE Option Merge Visible B _ snup cones rie 0 145 command pasted a El k flattened copy of the sel lal 3 layer stack into a new layer that was sharpened Resolved Layer Stack Page 165 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT and blended on Darken with 33 layer opacity This layer was duplicated and blended on Lighten with 66 layer opacity Both sharpening layers were individually layer masked back into the layer stack to further alter the image s spatial composition to reinforce and consolidate the drawing tonal and colour compositions The final rendering combine
255. ions that are possible when altering your photos directly in Adobe Camera Raw or as an embedded Raw file within Photoshop Camera Raw CS5 Note gt Keep in mind that for many of the techniques there is no longer the need to convert your file from its native raw format in order to continue editing the picture in Page 472 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Photoshop This way of working ensures that not only are your images always derived from the primary capture data and not a second generation derivative but that you maintain the flexibility of the Raw format for altering characteristics such as white balance tonality color space and sharpness non destructively All digital cameras capture in Raw but only Digital SLRs and the medium to high end Prosumer cameras offer the user the option of saving the images in this Raw format Selecting the Raw format in the camera instead of JPEG or TIFF stops the camera from processing the color data collected from the sensor Digital cameras typically process the data collected by the sensor by applying the white balance sharpening and contrast settings set by the user in the camera s menu The camera then compresses the bit depth of the color data from 12 to 8 bits per channel before saving the file as a JPEG or TIFF file Selecting the Raw format prevents this image processing taking place The Raw data is what the sensor
256. irst step in the process of using localized corrections in Adobe Camera Raw involves selecting the new Adjustment Brush Tool situated in the toolbar at the top of the workspace This will open up a new Page 493 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT pane containing a range of image characteristics that you can adjust within your image Select the primary effect that you wish to change from the pane Here used Exposure with a setting of 2 74 EV B Set Brush tip characteristics Next you need the brush tip characteristics You essentially four controls here Size Feather Flow similar to airbrush where multiple strokes build the effect and Density or level of effect The brush tip is displayed with two concentric circles The outer one represents the edge of the brush the inner circle outlines where the brush is solid and the space between is the width of the feather Contrast C Paint in the adjustment mask With the effect and the brush tip now set move the cursor over the image and paint in the area to be adjusted Notice that the adjustment is made in real time on your image purposely used a strong underexposure setting so that could clearly see the extent of the painted area Don t be concerned if the effect is too strong or not the style required as these can be tweaked later Continue to build up the mas
257. is creates new opportunities and outcomes for existing digital technology and unifies colour printing theory and practice in the tradition of the fine print in the field of fine art photography and in the age of digital reproduction THE FINE PRINT IN THE AGE OF DIGITAL REPRODUCTION On October 15th 1993 KODAK ceased production of materials for their Dye Transfer Process Kodak 1993 Since 1946 when Kodak first commercially introduced the process it had been the reference standard for quality photographic colour printing Gassan 1981 p 42 The Dye Transfer Process was promoted as the foremost colour process of all time because colour balance and contrast can be controlled in every one of the process s many steps Kodak 1988 p 2 It was considered to be the most Page 19 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT comprehensive of all colour processes Bob Pace in his foreword to The Dye Transfer Process acknowledged that The Dye Transfer process is one method of making quality color prints that can be the prime goal of the art community Until now the black and white photographer has been regarded as the fine artist in photography and deservedly so However the awakening colour photographer has had to work with Type C prints or Cibachrome Both of these materials are line but are not in the same league as a Dye Transfer print The ability of the Dye Transfer pr
258. is then opened into Adobe Camera Raw and the color and tones of the captured file are adjusted with the sliders in the Camera Calibration section of ACR to match the true values of the patches Performing this process manually is tedious and takes a lot of time a better approach is to employ the help of the software that accompanies the ColorChecker Passport With pretty much drag and drop simplicity the program uses the reference image to create a new profile The original Page FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT capture is converted to DNG Adobe s Digital Negative format before being imported into the ColorChecker Passport software where the swatches are analyzed and a custom profile produced The resulting file is then saved and made available as one of the Profile options in the drop down menu of the Camera Calibration pane tab in Adobe Camera Raw AUTOMATING PROFILE SETTINGS To automate the process 4s Sm MA nO of applying the profile Camera Calibraton ia simply change profiles for an example image Process 2010 Current 7 and then select the Save Settings option from the Camera Profile Settings button the button icon looks like a CLTS list at the top right of Adobe Standard the Presets pane s Deselect all Settings except Calibration and save the preset To use Custom Camera p this preset simply down menu sele
259. ject are known and measured accurately then it must be possible to observe and measure any changes in color value as the subject is reproduced and at any stage in the reproduction process In fact changes in color value always occur Some changes are a result of the color space gamut gamut is another word for Page 445 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT range for example a printer may not be able to produce the same range of colors that can be seen on a monitor Other changes in color value occur when the same color is viewed in different environments The key to a successful calibration is to put every device into a known state which is to say the device default settings The color output of each device can then be measured and compared When measuring the color output of any device the original subject is often a color chart with known values Each stage in the process from taking the picture Camera viewing and editing the picture Monitor and finally publishing the picture Printer or Monitor can then be evaluated and compared to the original subject WORKFLOW DEVICES There are typically three devices in any workflow The camera the monitor and the printer These devices must be calibrated before use Although a detailed description is provided later in this guide the key steps are as follows The camera Every Phase One camera back is cal
260. k by painting in the areas to be adjusted Alternatively you can click the Show Mask option to display the selected areas Page 494 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT D On the fly masking At the bottom of the Adjustment Brush pane is an Auto Mask option Use this setting to get ACR to only apply the adjustment up to the edge of a i painted area When painting with this option selected make sure to keep the inner circle within the area to be adjusted E Fine tune the adjustment Notice that once you start to paint the mode at the top of the pane switches Nev from New to Add While in amp Exposure e the Add mode you can eee proceed to fine tune the M changes made to the various ee image characteristics using the sliders Despite the fact that initially selected the Exposure slider can now include other characteristics in the mix ADDING TO SUBTRACTING FROM AND CREATING NEW LOCALIZED CORRECTIONS Adding to Once an adjustment area or mask has been created it is possible to extend the area by selecting Adiusiment Dush the Pin icon for the area jal hax Lou This activates the an existing B Lever ex painted area Now continue Brightness to paint with the brush tip The enhancement changes for the newly painted area will be exactly the same style and degree as those already existing in the previously
261. ke sure the curve is attached to the configuration SUMMARY The above is a guide to configure a setup to print film separations for use in the Screen Printing industry Run some test jobs to choose the most suitable patches ink combination and resolution for the device and media being used If a different resolution or colourspace is selected or the light inks are used a new Paper Profile will need to be created Trying different dot sizes will mean adjustment of the Paper Profile changing which patch is turned on in each channel During the testing period many combinations of ink colours dot sizes and resolution were tried Different output devices and media will produce varying results so a combination of patches and ink mixing may work better The higher resolution 1440dpi produced the most dense output at around 4 18D but Page 281 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT takes longer to RIP and print By running at a lower resolution 720dpi the jobs processed quicker but the density drops to just under 3 at around 2 8D This is often acceptable for many applications but will vary depending on the media and device used Testing will prove the most suitable setup The most commonly used settings were CMYK colourspace with an ink combination of Black and Magenta This used the large Black dot 4 and the small Magenta dot 2 in the Paper Profile and gave a sli
262. l commercial and creative photographic practice As long as this tradition persists the means of production will remain difficult to renegotiate We should not underestimate the influence of photography on those who practice it Paul N Hasluck over one hundred years ago wrote in his preface to The Book of Photography Practical Theoretic and Applied that it has been prepared at the request of many readers of my smaller books on the Subject who have expressed a wish for a comprehensive treatise My own practice in photography dates back to the time when the operator prepared each plate for his own use first by a tedious process of cleaning the glass next by dexterously flooding it with collodion and finally by sensitising it in a bath of silver nitrate My first photographs some of which still possess were taken with apparatus wholly my own construction which served its purpose quite satisfactorily for many years The intention has been to give explanations that are clear and exact the Practice is that followed by the most skilled operators the Theory is dealt with so far as it bears upon the working Page 75 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT principles of the art and there is an abundance of information on the Application of Photography to its many purposes Hasluck 1905 Sixty years ago Ansel Adams in the 1944 American Annual of Photography
263. lable Media Select a Media to view its current linearisation curves and data or to linearise a new Media Any changes made are applied to the currently selected Media LINEARISATION HISTORY Shows a list of all the linearisations performed for the selected Media allowing the user to track the performance of the output device The following sort columns can be selected using the contextual menu on the column header bar Column order can be changed by dragging and dropping the columns into the desired order or by using the Configure Headers option in the context menu e Date Date and time the linearisation was measured e Type Shows whether each linearisation curve was measured in Density or Lab mode The panel has one 1 button e Trim To Trims the number of stored histories to the value shown from oldest first The following options are available from the context right click menu within the History list e Show Charts Launches a separate window that plots the linearisation history of the Page 343 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT MEASUREMENT ADVANCED OPTIONS Media Gradation Curve on various charts See below for further information on the available charts Checkboxes at the top of the window are available to choose which ink channel to view Shift click to view another channel at the same time Double click a channel to see all Revert to t
264. lable for Mac and required on later model Epson printers and newer versions of OSX Use XIO ifthe FireWire driver does not work e FTP Send a completed job to remote machine using FTP e Local Device If there is a printer connected as a serial or parallel printer send the file directly to the device with this option Page 237 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Local Folder Choose a local folder to send the output file to Enter the path or select Choose to browse and select a folder The folder must exist and have write permissions Local Print Queue Print to a local print queue Use this to print to a Windows printer on another machine In the path location enter machine printer where machine is the name of the Windows machine with the printer attached and printer is the exact name of the printer The printer must be shared LPR Port Use LPR to print jobs to printers accepting it Enter the Hostname IP address of the printer and the path Not all devices require a path to be entered This is a good option for Epson printers with a network card This method is faster than TCP IP printing for these devices Nowhere This is used for internal testing purposes or for softproofing workflows Files created by the print driver are not sent anywhere they are left in the default raster location A print time for simulation can be entered PAP AppleTalk
265. ld be undertaken in ACR before moving to Photoshop In addition performing these image editing tasks on the full high bit Raw data rather than making the changes after the file has been processed by the camera enables the user to achieve a higher quality end result Double clicking a Raw file or selecting Open in Camera Raw in Bridge opens the Adobe Camera Raw ACR dialog box where the user can prepare and optimize the file which can then be passed to Photoshop for further processing If the user selects 16 Bits Channel in the Workflow Options the 12 bits per channel data from the image sensor is rounded up each channel is now capable of supporting 32 769 levels instead Page 474 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT of the 256 levels we are used to working with in the 8 bits per channel option Choosing the 16 Bits Channel option enables even more manipulation in the main Photoshop editing space without the risk of degrading the image quality When the optimized raw file is passed to Photoshop from ACR we have the option of converting a copy of the photo from raw to a Photoshop document psd or embedding the picture in a Smart Object which in turn is stored in a new Photoshop document The advantage of the second approach is that as an embedded Smart Object the Raw file format of the original capture is maintained and protected In both pathways a
266. lder and launch the Printer Setup Printer Setup Utility Utility A window containing the existing printers will appear Page 429 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT 2 Click on the Add icon The Printer Browser window will open 3 Click on More Printers while holding the Option Key This will give extra options 4 If you are running v10 3 9 OS X hold the option key when clicking the Add icon earlier to view the extra options Page 430 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT 5 Click on the pull down menu AppleTalk and select Advanced 6 From the Device pull down menu select Windows Printer via SAMBA 7 Enter a Device Name This is the name that will appear in the Mac Printers list It should not contain any spaces capitals or hyphens Note The interface will allow the use of spaces and hyphens but the CUPs printing will transpose those characters to underscores This can be confusing as you see a printer with one name but need to use another name to print to it 8 Enter the Device URL which is the path to the printer on the Windows machine This contains the Printer Share Name Windows machine name user name and password to enable SAMBA to pass the job to it The format is smb lt user gt lt password gt lt machinename gt lt printersharena me gt For this exa
267. le list e Activate Deactivate Connect or disconnect the chosen device e Add Add the measured values to the list This appears after the Densitometer has successfully connected To being measuring select a Densitometer from the dropdown list and click the Activate button The status field is Shown when the device connects without error Follow any instructions when Page 328 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT prompted Calibrate Measure Cyan Solid etc MEASURE TARGETS In order to read percentage tint values of any plate read the paper white first and the solid density value for that colour The Measure Targets menu or contextual right click menu will measure the solid reference densities for the process colours and the paper white With these values stored colour percentages can be calculated and displayed Measure or update an individual Solid density or Measure All Targets COLOUR LIST This is a list of readings taken if the Add is enabled Each reading is appended to the list and the values measured are displayed The columns can be resized or reordered as required by dragging the header to the preferred position The columns are e Name The name of the colour read Defaults to Untitled but can be changed by selecting the name and entering a new one e Colour Shows the dominant colour read i e the one with the highest density value
268. lending that layer on Luminosity and then clipping an Adjustment Page 135 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Curve to it produces completely logical and predictable results that are also in agreement with how the Photoshop literature describes curve functions Only the values edited are edited unedited anchor points do not alter their values and the luminosity of the object can be adjusted independently of its hue The Luminosity Curve LUMA now functions exactly the same as any other Photoshop curve Applying this procedure to a series of colours such as the standard GretagMacbeth Color Checker reveals how the separation of luminosity from colour facilitates a sophisticated accurate and efficient image editing workflow The two brightest and two darkest neutral patches were anchored on the Luminosity Curve The third darkest patch 120 LUMA was raised to a brightness of 160 LUMA 532 rrr ass HE HE eee sss Hi Page 136 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT All colour patches whose lummosity was not locked down by the four curve anchor points were also brightened without shifting their hue Any colour patch could also have been flocked down Applying this method to fix real world editing problems highlights the advantages of using a LUMA curve rather than an RGB curve In this exa
269. ll bar below the image moves forwards or backwards through the publication PAGE VIEW CONTEXTUAL MENU There are various options available from the context right click menu Open Publication Opens a QueueManager showing all jobs processed in the system Select a job or publication job to load and click OK Reload Publication Reloads the current publication with files from the queue This is used if additional files have been processed as part of the publication or changes have been made and the publication needs to be updated Choose Press Select a Press configuration to apply to the job currently and subsequently Page 335 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT loaded into the FlipBook see Workbench Press for details e Job Info Displays the Job Info information about the currently selected page see Workbench QueueManager for details e Swap Page with Swap the page currently selected with another page from the same currently loaded publication e View Imaged Opens and views the imaged file of the selected page in the SoftProof application e View Rendered Opens and views the rendered file of the selected page in the SoftProof application e View 3D Toggles between a 3D or 2D view of the publication Three dimensional viewing shows the page turning The turning speed can be adjusted FlipBook Settings 3D mode adds 2 sliders
270. ller on the screen won t help because pixel editing programs also proportionally scale their pixellated brushes The editing of large photo resolution images is further complicated by pixel editors simultaneously loading all image pixels data into memory RAM and often duplicating these pixels many times over This is despite the fact that a monitor can only ever display a small limited number of pixels at anyone time Any image pixels loaded into memory in excess of what the monitor can display remain resident in memory slowing down the computer and in general interfering with production efficiency When a Photoshop window s title bar Page 68 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT proclaims 10 enlargement it literally means only 10 of all the image s pixels are visible on screen When you save a file in a pixel editing program you have to save all of its pixels Layers and history palettes take up even more memory further slowing down the creative synergy Also a history palette with a fixed and limited memory that can t be saved renamed or recalled as part of the image whose history it maps renders the application blind to its own evolving creativity and history This is just not photography But the problems and disappointments don t stop there We also experience the discrepancy between high resolution prints compared with low resolution monitors displaying
271. llmore out because Page 87 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT he is louder than most and his book is the most expansive volume of the twenty one published by Adobe Press devoted exclusively to Photoshop from version 6 to CS2 Adobe Photoshop s own help menus also cover the same ground though without the humour and real world examples found in Willmore s book The Photoshop CS and CS2 Help Menu entries for adjusting Curves are quite brief focused and to the point compared with most text books that chart the fortunes of each new edition of Photoshop Photoshop CS Help Adobe 2005 contains one entry Adjusting color and tonality with Curves which in Photoshop CS2 Help is divided into two sections Adjusting color and tonality with Curves and To adjust color and tonality with Curves where the later has been extracted from the original CS Help entry Apart from this layout change there are no substantive changes to the text which states Adjusting color and tonality with Curves Changing the shape of the curve in the Curves dialog box alters the tonality and color of an image depending on whether the dialog box is set to display levels or n image with more contrast Conversely fatter Previous Topic Next Topic Adobe Photoshop CS2 Help Menu with my highlighting These instructions are more or less mimicked by every Photoshop text book
272. lobe saturation is 100 and each color is easily identified Following the equator around the globe red blends through magenta and violet to blue Blue merges into green and green merges into yellow Finally yellow merges back into red Moving onwards again towards the South Pole colors gradually become darker Finally at the South Pole everything is black COLOR GAMUTS COLOR IN 2D A way of describing the range of color that a device is able to register is to say that it has a gamut Gamut is another word for range and Green it is frequently used when describing the color limitations of devices The gamut of visible colors represented within the HSB globe can also be shown as a flat two dimensional chart The shape of the chart shows the range of colors that the human eye can register Page 450 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT v D v Lae kaad x x x The black border indicates the approximate limit of each device below A Phase One camera has a very large dynamic range which also gives a very large gamut Film has a slightly smaller gamut than a Phase One camera and the gamut of a high quality film scanner is slightly smaller than film The color gamut of a high quality computer screen is slightly different to the gamut of a film scanner x Finally a printer or printing process often has a very different and much smaller
273. location leaving the previous version untouched Before starting the Server for the first time copy the defaultss dbd file and ICC profiles into the new installation See above for locations of V4 items As Version 5 starts for the first time the Database will be converted to the new structure automatically Important Note Pagesetup archives imported from Version 4 to Version 5 will automatically be split into Media and Pagesetup data types for the relevant configuration settings Version 5 archives cannot be opened or loaded into previous versions of the software Page 187 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT LINUX INSTLLATION Before installing on a Linux x64 operating system please ensure the following i686 32 bit libraries are installed e libstdc i686 GNU Standard C Library e mesa libGLU i686 Mesa libGLU runtime library e zlib i686 The zlib compression and decompression library e freetype i686 A free and portable font rendering engine e libXrender i686 X Org X11 libXrender runtime library e fontconfig i686 Font configuration and customisation library e glib2 i686 A library of handy utility functions e libpng i686 A library of functions for manipulating PNG image format files e libSM i686 X Org X11 Sm runtime library If the Package Installer can not locate the libraries open a terminal window go to the root directory and install each l
274. lopaedic and uncritical fashion that a photographer could easily come to believe before the fact that it is capable of almost anything However hard experience and numerous workarounds for this or that problem simply reinforces the main problem e still don t really understand why pixel editing is not synonymous with photography The seemingly endless technical complexities and creative possibilities guarantee that we never feel comfortable or knowledgeable enough to offer a specialist critique In stead we sometimes end up like my friend screaming at this unfeeling unthinking uncaring conglomeration of bits and bytes that we have with feeling taken into our concerns In 1970 at the Art Institute of Chicago the American artist Frederick Sommer Sommer 1971 spoke of his Page 65 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT respect for sensitized photographic surfaces that have such an honesty an inevitableness it just can t do anything else but show us what some process showed to it Sommer recognized and privileged photography as an accumulative process The heartbeat of analogue photography this sensitive surface retains the latent memory of events experienced A hair accidentally caught in the film gate during exposure is faithfully inherited by every subsequent process Its imprint is remembered and transformed but not forgotten It is still pre
275. lue is closest to the subject and red is closest to the viewer photographer Photoshop also omnipotently places us at the top of the layer stack looking down the stack as the layers face the background or original image layer the subject But as soon as a full gamut image is separated in this way the results of the combined luminosity and colour layers do not completely add up to the original gamut The extraction of the CHROMA layer does not completely account for all the hue and saturation with the most saturated colours being clipped However when the ROB image is converted to LAB and the luminosity and colour are extracted onto separate layers the combined LUMA and CHROMA layers completely account for the entire gamut of the original image But in ROB colour spaces there is always less than 100 of the gamut captured by the separated LUMA and CHROMA layers The actual gamut of the RGB space does not effect this clipping which is constant Page 147 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT SRGB Difference Map Original Grainger Rainbow gt B hroma ise Ol Gi laialF Adobe RGB 1998 Difference Map Gamma 2 2 ProPhoto RGB Difference Map Gamma 1 8 The difference maps are the result of blending a Grainger Rainbow on Difference with its separated LUMA and CHROMA layers The same set of RGB triplets are always excluded from the CHROMA lay
276. ly correct Dan Margulis in the fifth edition of his book Professional Photoshop devotes a whole chapter Keeping the Black and White in Color to Luminosity Blending Margulis 2007 However all his examples involving Luminosity concern blending channels and layers to enhance local contrast reduce digital artifacts and or produce more dynamic renderings Hue and saturation shifts that are clearly evident in his example images are not addressed but if they appear significant are subsequently corrected He likens Luminosity and Color blending modes to LAB by using contrast from one layer and color from the other Margulis 2007 p 176 In effect the method requires us to think in LAB separating color from contrast in our mind Margulis 2007 p 194 However he never precisely defines the blending modes but instead uses them to create specific effects Willmore who after Margulis is the second most expansive author in terms of the number of words devoted to Curves and blending layers also presents LAB and its Lightness channel as a solution to this problem because the lightness information will prevent your adjustment from shifting the color of your image Willmore 2003 p 2 Page 101 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT 19 The concept is that Luminosity and Color blending modes separate tone amp contrast from colour in an ROB file just
277. ly be printed if they are relevant to the job Unsharp Mask Apply an unsharp mask to the job The Unsharp Mask affects the edges within an image and can be controlled with the available parameters The radius tells us how large an area to affect around the edges The larger the radius the greater the effect Page 258 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT MEDIA EFFECTS and the longer it takes to process If the preview resolution is high a given radius will have less effect than if the resolution is lower If the detail is quite fine a smaller radius should be used Higher radius values can also cause halos at the edges The threshold gives a level that should be affected where 0 affects more of the image and 255 very little The amount states the size of the change where a higher value is a greater change at the edges Watermark Place a watermark across the job The scale of the watermark is proportional to the size of the job 100 represents the same size as the job in the smallest direction If the stretch option is selected horizontal and vertical sides are stretched to the scale amount The watermark will be scaled in an anamorphic manner Fitting Method None Fitting method is turned off Fit Width Fit Height Fit Width amp Height Shrinks jobs to fit within the set dimensions proportions are maintained Scale Factor Scales jobs by the amount speci
278. maticity while minirnising image deterioration and maximising image quality DeWolfe s over simplification of the problem flawed understanding and inadequate implementation of Photoshop operations highlight the issues that need to be addressed Hue brightness and saturation are subjective terms and therefore represent the psychology of colour Page 128 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT perception and a system of identification that is intuitive and therefore easy to work with For example the problem of correct skin reproduction in a portrait can be divided between its three psychological properties e Is the hue of the skin the colour of the colour correct e Is the saturation or purity of the skin colour correct e Is the skin tone too light or too dark Any Photoshop solution needs to address these conditions and provide definitive precise and independent control of hue saturation and brightness An RGB colour model does not represent these subjective qualities therefore it is difficult apnori to recognise or predict what RGB numbers equate to the correct hue saturation and brightness A HSB model would solve this problem Photoshop already provides info palette readouts in HSB that enable our judgements to be numerically verified arid precisely controlled Separate controls are required for each property such as the control of lightness an
279. mber of the Admin group CONFIGURATION PANELS USERS PANEL The fields within the Users panel are e Name The username of the account This is case sensitive e User ID This is a numerical ID assigned automatically but may be changed by the administrator e Password Verify The password is entered and stored here New passwords must be verified by entering the details in each field The Page 401 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT TO CREATE A USER password is also case sensitive Permission The level of permission for the user is created here Click Edit to make changes to the user read write execute permissions Email Enter the users email address here Comment Allows the administrator to enter a note on the particular user account if necessary Group dropdown Assign a user group to the user account User Privileges Privileges other than those in the user s group can be added here Notifications Select which email notifications the user is to receive by clicking the icon or remove any via the icon Notifications are available for Job Spooling failure Job Autodetection failure Job Imaging Rendering failure Job Printing failure if a Dongle is removed if the Server crashes and Media Remaining warnings Click the icon in the bottom left of the window To delete a user click the icon Enter a username in the
280. mbers can be negative The default is 0 Jobs waiting to Image or Render will process through a higher priority Pool over jobs submitted to lower priority queues Pool type Select what sort of pool to use There are two 2 options Load Balancing Spread the jobs across the Pagesetups selected in the pool Page 263 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT e By Print Area Calculate the area of each job and the queue with the least amount of print area queued is sent the next job e By Number of Jobs The queue with the least number of jobs is sent the next job Load Balancing is ideal for printing to multiple printers of equal quality using the same media with the priority being to proof jobs to the next available printer Each printer is calibrated separately to ensure quality By Print Area is more efficient as the larger the print area the longer it will take to image render and print Queue loading is determined at the time of imaging If a print queue is paused jobs will be sent to active queues e Prints to All Pagesetups Choose to print to all Pagesetups selected in the pool The option Prints to All Pagesetups is ideal for a job to print locally and remotely One Pagesetup can be configured to drive a local printer and another can create a JPEG image and transmit it to a remote Serendipity Megarip Alternatively create a PDF file to send to a customer a
281. mbination Algorithm Choose the type of ink limiting There are three 3 options Standard Simple ink limiting based on ink percentages Enhanced Like Standard but optimised for variable dot printers It uses intelligence to calculate the ink limits based on dots used Linear 3 0 This setting adds the ink coverage for any area then proportionally limits according to the ink limit range it falls within For example with 3 ink set to 300 and 4 ink set to 400 if a 6 ink area of an image has a coverage of 320 it will limit the area according to the 3 4 ink range Linear 4 0 This method limits ink based on the number of inks being used for an area For example if 5 ink is set to 390 any time 5 Page 272 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT inks are laid down their coverage will be limited to 390 Linear favour Black As more ink is laid down and a colour area approaches Black this method limits CMY proportionally more than Black preventing wetness and inversion in shadowed areas Lowpass No limiting is imposed until the coverage for combined number of inks reaches the set limit at which point any higher ink coverage is clipped to the ink limit Lowpass favour Black The same as Lowpass but favouring Black limiting it proportionally less than CMY as colours approach Black Media Information This side of the screen dis
282. ment MEGARIP SERVER RUNNING ON A MAC The first requirement is to create a printer on the Windows machine that will print to the physical printer On the Windows machine connected to the printer 1 Navigate to Control Panel gt Printers gt Add Printer Install the printer normally Give it a useful name that can be identified easily This is the name that appears on the local computer 2 Go to the Sharing tab and enter a share name Again pick something easily identifiable on the network It is recommended to use lower case and no spaces Also try to keep names reasonably short This shared printer should now be visible on the network For this example the printer name is HP Designjet T1100 24in Page 428 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT HPGL2 and our share name is tanglefoot t1100 3 The printer name is the default created when the printer was added to the windows print system The share name uses the computer name tanglefoot at the beginning so it is easily identifiable on the network 4 At this stage a test page can be printed to check the Windows side is configured and working correctly On the Mac running the Megarip Server Mac OS X 10 4 and earlier Now the Windows printer is configured and shared create the printer on the Mac in order to print to it 1 From the Finder go to the Utilities fo
283. mple the names are e User megarip E an Wendcus Prema ca Lira aa fee Peace irs Page 431 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT e Password serendipity888 e Machine tanglefoot IP address can also be used e Printer Tanglefoot t1100 The path is smb megarip serendipity888 tanglefoot Tanglefoot t1100 The line is unbroken A driver can be set here but it is not used when printing from Serendipity Megarip This is simply used to deliver the job to the printer The driver within the Workbench is the one used 9 Once Printer List c complete click f the Add button as and the new pO TE printer will v mur 26100 IF printing appear in the wv FT HP 23100 directdriver printer list E HP4500 mults ball rod hp t11100 via tangtefoot v Jpeg creen res S39 ON A MAC RUNNING THE MEGARIP SERVER Mac OS X 10 5 1 Open the System Preferences and select Print amp Fax from the Hardware panel 2 Click the icon to Add a Printer 3 Select Windows in the Add Printer window 4 Click through the Network Name Network Computer Page 432 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT lt machinename gt and select the shared printer lt printersharename gt 5 Select the driver you wish to use for the printer from the Print Using d
284. mple three adjustments are required to consolidate and stabilize the image i equalise the density of the four paint tins so that they appear to be sitting on the same plane ii lower the contrast of the background without changing its colour so the paint tins rise above it adding depth and dimensionality and iii increase the highlight contrast and definition without inducing a colour cast to increase the volume and presence of the white cloth and solidify the overall substance and dimensionality of the image with RGB Curve Adjustment Curve Page 137 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Applying this method to fix real world editing problems highlights the advantages of using a LUMA curve rather than an RGB curve In this example three adjustments are required to consolidate and stabilize the image i equalise the density of the four paint tins so that they appear to be sitting on the same plane ii lower the contrast of the background without changing its colour so the paint tins rise above it adding depth and dimensionality and will increase the highlight contrast and definition without inducing a colour cast to increase the volume and presence of the white cloth and solidify the overall substance and dimensionality of the image In portraiture small quantisation errors can induce large pictorial discrepancies Even subtle edit
285. mples the job s resolution to change it to that of the configured output format By doing so an intermediate file is generated called the Imaged file The Imaged File can be viewed using the SoftProof utility The file format maintains all the plates associated with the job and is viewed at the full output resolution The Imaged File can also be re submitted at any Page 178 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT time for processing to the same or a different output There is no need to spool and interpret the job again After the imaging process has completed the job is passed to the rendering engine This takes the Imaged File and creates the file ready for output The process includes applying any output characteristics such as orientation cropping colour management ICC Profiles and creation of the configured format whether for an Inkjet printer or a file format such as PDF The Imaged File can be rendered as many times as desired Each time any of the output characteristics can be changed prior to rendering Once the job is rendered it is submitted for printing to the output device or file format Multiple output queues can be created and multiple devices can be printed to simultaneously Most of the output devices supported use a direct printer driver and therefore the Server has more control of options such as selecting specific media and printing direction
286. mpositions For example the local intensification and darkening of the father s chest This is the equivalent of burning in through the analogue HCNM in the Type C print Page 57 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT STAGE 4B Additional spatial re workings included slightly lightening and warming the skin tone by removing 5 cyan from the figure s highlights darkening and intensifying the fathers chest and leg and binding and intensifying the transitions between their faces and their gestures This increased the family s collective agony intensified isolation dramatic innocence loss of faith and impending tragedy frozen in time and space Page 58 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Colorize and Color Correction layers can edit the hue saturation contrast or tonality of the image The effects are either locally hand painted or globally applied to the entire image Color Correction Layers can be calculated in ROB CMYK or HSV values and can be constrained within specified hue saturation and brightness ranges They are the main tools used in the editing and balancing of the Spatial Composition Page 59 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT STAGE 4C The Spatial Composition is also the strategy that highlights ten
287. n examples from the previous chapter now function exactly as predicted Raising or lowering an anchor point 20 levels now brightens or darkens only that value and without altering its Hue In this way one area of the image can be edited to a match another area of the image without the typical errors of an RGB Curve This is a critical advantage Page 134 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Cem LUE m E m 7 ne AAs M cos uc d e m Ome ie a Green 65 LUMA lightened 20 levels Unedited green LUMA anchor points Editing the same anchor points on an RGB Curve produces vastly different results Attempting to match two points in an image such as raising 65G to the same level as the 85G anchor point on the RGB Curve actually darkens both colours to 44 43G The points now match but both are incorrect values Darkening 65G to the same level as 45G on the RGB Curve lightens both values and they still do not match Green 65 darkened to 45 levels RGB Curve blended on Normal Green 65 lightened to 85 levels Blending the same RGB Curves on Luminosity produces further errors uncertainty and inconsistency making it impossible to accurately edit luminosity RGB Curve blended on Luminosity Green 65 lightened to 85 levels Green 65 darkened to 45 levels Extracting the luminosity of the image b
288. n one system of color symbols in place but the different systems contradicted each other For instance The regal purple of Christ s robe may be the same as the scarlet of sin 37 Or another example in the 1500s writers in Venice Italy began to compare the various opinions and to find that they had very little in common In a series of dialogues on love where of course the expressive force of colours was seen to play a vital role Mario Equicola in 1525 admitted the dangers of talking of colours at all because of the differences in ancient and modern terms and because different authorities gave different equivalents for the colours of the elements or the planets worse the meanings of colours are somewhat different among the Italians the Spanish and the French An assortment of colours according to their meaning said Morato might even have a very disagreeable aesthetic effect 38 Nevertheless it is possible to see that some colors were considered more valuable and had more significant meanings than others Often these were the colors with high economic value like red and purple Since the economic values tended to be the same for much of Europe general conclusions can be drawn However if historical accuracy for clothing colors is important then focusing a particular region and time period is recommended Page 469 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMEN
289. n the Crop menu The aspect ratio of the bounding box will change when a new format is selected Click and drag on any corner handle to alter the composition or framing of the image Use the keyboard shortcut Command Ctrl Z to undo any action that you are not happy with a Q 477 v ADse sOzOC ZWee 3 Note The Crop Tool setting affects the Straighten Tool so make sure Crop is set to normal The Crop Size pixel dimensions and Resolution can also be set in ACR If your target output is specified in inches or cms you will need to perform some calculations to ascertain the optimum crop size divide the dimensions of the document needed by the optimum image resolution required by the output device As crop sizes are only approximate in ACR you should choose a size that is slightly larger than the actual dimensions required COLOR SPACE STEP 3 There are four choices of color space in the ACR dialog box and it is important to select the most appropriate one for your workflow before you start to assign color values to the image in ACR using the controls located in the Workflow Page 480 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Options dialog displayed by clicking the highlighted blue text at the bottom of the screen ColorMatch RGB is rarely used these days it was a space commonly used before color management came of age back at the end of the last decade so the cho
290. nalisation English is the default e Click OK to dismiss the System Settings window and apply the changes A restart of the Client Application is required if the language settings are changed CONFIGURING MANUALLY This section will explain how to setup a basic configuration to print a file to a printer and monitor the job throughout the process For more detailed information on specific modules see the relevant sections of this user manual The factory default Monitor currently only has system queues Specific queues wil need to be configured for the abovementioned process There are three 3 sections that need configuring in order to process jobs to the printer These are e A Pagesetup and Media where jobs are processed and e An Output where the print job is sent Note Before a Pagesetup can be created first create a Media and an Output as each Pagesetup must be linked to a valid one of Page 192 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT each OUTPUT CONFIGURATION In the Serendipity Client select Application gt Workbench Select the Output from the Data Types list and create a new output The name Untitled should be highlighted If not select it type a new name and press Enter This Output will appear in the Pagesetup Now configure the output to your requirements Select the appropriate driver for your printer from the pull down
291. name Notes The number of notes saved with the job Section The section of the publication Queue Order Configure which queues are viewed by the QueueManager Available amp Showing Render Queue Thumbnails Enable or disable thumbnails for the Render Queue in the Thumbnails view of the QueueManager Page 298 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Show Idle Queues Show Hide entries in the QueueManager for idle processing queues Group by Queue Enable Disable the grouping of jobs by Queue before other column sorting is applied Show Show certain jobs in the QueueManager Select any or all of the options to filter jobs Choose from Jobs Display all jobs as text line entries Thumbnails Display all jobs as thumbnails This is the same as the Print Gallery mode Publications Only display jobs belonging to a publication For any of the above display modes further filtering is available Active Jobs currently processing Waiting Jobs with a status of Waiting Done Completed jobs Search Find jobs that are in the queue All jobs matching the search text will be displayed All elements of the jobs are searched against not just the name so this can be a useful filtering tool The search can be inverted with cmd shift Mac or ctrl shift I Win The search box will turn black to indicate when the inverse search is selected There ar
292. name e Page Number Change the page number of the job e Copies Change the number of copies of a job e Change Media Change or assign a Media associated with the job e Reprint Displays a submit window to reprint a job or jobs e Cancel Cancels the currently processing jobs e Delete Deletes the currently selected jobs Page 300 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Hold Holds the currently selected job Only available when the status is Waiting Release Releases a currently selected Held job Retry Retries a failed job View Errors Views the errors of the selected job if the status is listed as Failed Rush Jobs Moves the currently selected jobs to the top of the current queue for processing next The status must be listed as Waiting Jobs currently being processed will be completed first Note Rush Jobs will move the job up the current queue only If the job is in the imaging queue and Rush Jobs is selected the job moves to the top of the imaging queue Once complete it will move to the bottom of the rendering queue Select Rush Jobs again to move it to the top of the rendering queue View Original Views the Imaged file for selected jobs in the SoftProof application View Printed Views the rendered file for selected jobs in the SoftProof application Render Again Submits the selected jobs to the rendering queue for processin
293. nation and expression and includes a brief chapter correlating Ansel Adam s Zone System to digital processes Haynes 1995 p 50 54 Cathy Abes in her introduction to Photoshop fix asks Why another Photoshop book Arent there enough already out there True there are plenty of books that catalogue and explain how to use Photoshop But this book is different It is a showcase of many unusual and beautiful images and a generator of ideas Abes 1994 Abes then presents case studies of 34 North American artists working with Photoshop none of whom represent a fine art photography or fine print tradition and apart from brief paragraph length biographies contain no artist statements or evidence to contextualise their technical Production methods In December 2006 a books in print search using the keywords Print Photoshop returned only eleven titles of which only two are relevant to this study One is devoted to Page 27 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT black and white photography techniques Hamilton 2005 and the outdoor and nature photography which quotes Ansel Adams and makes brief references to the fine print tradition Sheppard 2006 p 18 22 The only specialist publication dedicated to digital printing makes no reference to the fine print tradition at all despite devoting the first chapter to the history of fine art printing with extensive
294. nd three quarter anchor points respectively The different ways of adjusting the same set of curves are more or less convenient alternative methods that in particular enable operators with no knowledge or experience of adjusting curves to nevertheless adjust Photoshop curves with some finesse Unfortunately most operators would not realise that this is the case because Photoshop s Curves command does not reveal the accumulative effects of adjusting related commands nor do all the commands use the same nomenclature and or range and or values 4 For example Photoshop s Color Balance and Brightness Contrast tools range from 100 to 100 in each channel in either RGB CMYK and Lab modes while the RGB curves tool ranges from O to 255 levels The Color Balance tool provides the same set of sliders for three Red Cyan Green Magenta and Blue Yellow channels for both RGB and CMYK files but changes to Green Magenta and Yellow Blue in Lab mode The Brightness Contrast commands apply linear transformations to the curves and therefore also clip image highlights and shadows without warning With such variations of the same theme it is no wonder Photoshop s interface breeds confusion and uncertainty In summary the RGB Curve is not a Brightness curve but a LUMA curve because Luminosity edits change relative brightness and therefore also saturation Only on single channel curves do anchor points lock down the curve so their values don
295. ndows is the same as that described for the Mac above The only difference is that if the printer is on the same machine as the Server there is no need to share the device Dan zinc Destination Dever Loca pari queue 1 In the Workbench select the output and choose Local Print Queue for the destination The path entered is exactly the same as the name of the printer Path MP Deng 11100 2n HPL As per the previous example HP Designjet T1100 24in HPGL2 is entered in the path Serendipity Megarip User Manual Version 5 2 99 REMOTE WINDOWS PRINTER If the printer is located on another Windows machine there are two methods that can be used to print to it either directly to the shared printer or install a local printer to print to it Both still set the destination driver to be Local Print Queue To print direct to the shared printer in the path use the following format Path Mangio HP T1100 ontangy FDesatinatin Dsgtnabon Diver Local perd queues lt machinename gt lt printer gt or V machinename printer share name gt For this example the path would be Page 434 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT tanglefoot HP Designjet T1100 or tanglefoot HP T1100 on tangy To print to the Windows printer when it is on another machine a local printer needs to be configured on the same machine as the Serendipity Megarip is runnin
296. nels This simulates the effect of sandwiching two transparencies together Subtract Subtracts two channels from each other with optional scale factor and offset Unlike Adobe Photoshop Live Picture s IVUE Curve command did reveal the accumulative effects of other tool adjustments such as Levels and Colour Shift Colour Balance These effects were saved and archived along with all other editing data and could be retrieved at any time Page 124 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT FIXING THE PROBLEM George DeWolfe the senior editor of Camera Arts arid the author of the Digital Photography Fine Print Workshop describes his practical approach to image editing based on the separation of luminosity from colour When study the scene in front of me for luminosity using this filter Wratten 90 all I have to do in Photoshop if like what see through it is draw the Saturation slider in Camera Raw to 100 which desaturates the image and shows only the luminosity and I ll usually achieve a decent black and white luminosity image right off the bat After getting a good luminosity image either keep it that way for a black and white print or 111 draw the Saturation slider back to O for a color print With this simple tool and correction you can see that luminosity is the key to controlling many important things in the image shadow detail highlight detail
297. ng the hue Local changes are made by applying a Layer Mask to a curve Adjustment Layer clipped to the CHROMA or LUMA layers rather than dodging and burning directly on them This also has the advantage Page 157 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT of being reversible non destructive and can be blended as required The same layer mask can also be selected and loaded onto subsequent Adjustment Layers for even greater refinement CASE STUDY 1 When the tonal composition dominates an image usually only needs to be Cplll alr I into a LUMA layer and a composite CHROMA layer Blending clipped curves on these layers provides global and or local control of the separate compositions Adjusted Luma and Chroma 100 Colour Composition Ch Adjusted Chroma Page 158 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Soft Light blended null Adjustment Curves NAC were clipped to the LUMA layer and the CHROMA layer to intensify their tonal and colour compositions Each NAC s layer opacity was adjusted in 10 increments using keyboard shortcuts until the desired relative intensification was achieved The final rendering comprises 100 luma and 60 chroma Soft Light intensification This technique is reminiscent of chemical reduction and intensification in the black and white darkroom where different types and grade
298. ng process colours from it or making it lighter or darker An accurate visual representation is shown on the screen and the point in the colourspace can also be viewed Colours can be created manually or by entering the CMYK or Lab values or input automatically using an online Spectrophotometer Page 223 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT The interface is split into two parts the left side shows the input values and the right side shows where any adjustments tweaks have been made OPTIONS e Colourspace Choose between Input Profile or Lab input If the profile selected is RGB the sliders will change to RGB If CMYK the sliders will change accordingly e Influence Choose the area around the specified colours to be affected This is determined as a scale of 1 to 5 with 1 being the least influence and 5 the greatest e Tweak Value Use the CMY sliders to add or subtract from the colour being adjusted e Rendering Intent Choose the rendering intent that the colour is to be altered in from either Perceptual Colourimetric or Saturation This must match the rendering intent of the Pagesetup for the mapping to work e New Tweak Create a new tweak in the rendering intent selected e Copy Available via the right click menu Used to copy the selected tweaks e Paste Available via the right click menu once an item has been copied Used to paste the c
299. ng s chancellor France high government posts Venice and Florence 2 O Cosmopolitan man with access to international trading centers 3 O Power and prestige 4 O Inthe Church red was a symbol of authority Pentecostal fire the blood of Christ martyrdom crucifixion Christian charity Also could symbolize the satanic and color of hellfire 5 O Atthe universities of Padua and Bologna red was symbolic of medicine 6 e Reds Medieval O Alover wears vermilion like blood later Middle Ages 7 Page 465 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT O Assign of otherworldly power in European legends and folktales Also protection red thread to ward off witches red coral necklaces to guard against illness 8 O Sometimes the color of the Virgin Mary s robes 5 O The color of kings identified with kingly virtues of valor and success in war Also fire 9 O Arich man 10 Oranges Renaissance O The peasants and middle ranked persons imitated upper class reds by dyeing their Renaissance clothes with cheaper orange red and russet dyes 11 Oranges Medieval nothing currently noted e Yellows Renaissance o Inalmost all Italian cities a prostitute was required to wear yellow 6 O In Venice Jews were required to sew a yellow circle onto clothing 6 e Yellows Medieval O Inlater Middle Ages a harmonious color expressing the b
300. ng the curve upwards or downwards does not lighten or darken the primary RGB colours Page 111 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT om lt ys oy anes tea om a on eas TTITIITIT cem COTAT Ch T I zE z ou y Tpm PPA PALA a 44 Ff UTILI i P IM M E ded im ena Ee Me omni 4 d m a u n ad eii iini __ emm T9 _ cw S LIE ee po P SS Hy i H pams poma ow ses t PrF T pns 1 if Y v LZ LI ri me I z2 m UTS amp b a o The Red 76 Green 150 and Blue 28 brightness was anchored on the RGB Curve and adjusted to 0 or 255 Raising or lowering the anchor points does not change the primary colours at all It has no effect on the appearance of the colours nor their LAB notation These colours represent the limits of the colour space so it might be expected that they can t be lightened but they also can t be darkened This does not accord with the countless descriptions of how RGB Curves work But perhaps this is an exception to that rule The same experiment was repeated with less saturated RGB triplets 192R 64B 128B 128R 192G 64B and 64R 128G 192B All three colours have the same Saturation 67 and Brightness 75 but different Hues and therefore different LUMA points on the RGB Curve due to the co efllcjents in the L UMA formul
301. ngle curve point Only Dan Margulis notes that a formula is involved in the conversion of colour to greyscale Margulis 1995 p 218 230 but never equates this with an RGB curve or Luminosity blending mode n the fifth edition of Professional Photoshop he incorrectly states that Photoshop Mode Greyscale uses the same lumtnosity formula but now approximates it to three parts red six parts green one part blue Margulis 2007 p 156 Photoshop uses a gamma weighted Lightness value for greyscale conversion That is the Lightness value L of the original RGB triplet is preserved in conversion to the Gray Working Color Space This approach would have been chosen instead of a weighted mix of colour channels such as the 0 299 R 0 587 0 0 114 B Luminosity formula because gamma weighted Lightness also enables the relative conversion of single colour channels to a consistent greyscale appearance Charles Poynton s argues that Luma not Luminance is the correct term for gamma weighted tri stiniulus co efticients As the RGB curve also represents a gamma weighted luminance function the original image encoding is gamma weighted during processing from linear RAW space I will also adopt Luma to distinguish the unique properties generated by editing this curve and its anchor points am indebted to my friend and colleague lan Lobb for his insights encouragement and assistance with these examples His web site
302. nta Gere o de Tie Degen Core crieur li het Ane j Ape baie Lari iy db Match MOL Saves gatw Back mags hi kg Fatih Leeder VAHE b ciba Aamiin intent laris C bari reri E BT ht a el ao From Lab brat file Qab ranga modar lay 03 E Arras The window is split into two sections The right side allows for the import and viewing of a Special Set which is used as the comparison base The left side displays the measured values Selecting a particular measured value matches the closest colour of the imported set giving it relative deltaE values These can also be filtered to only show the closest matches for better viewing Page 372 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT OPTIONS Load Set Select a Special Colour Set to load This is the set used to compare measured values with Choose from any of the Special Colour Sets created Match ICC Select a Match ICC profile Rendering Intent Select the rendering intent for the Match profile Spectrophotometer Select a device from the list of supported Spectrophotometers Activate Connect to the selected device Once connected the pulldown device list will change to display any status messages from the device and the values measured Turn Off Disconnects the connected Spectrophotometer Alternates with the Activate button Add Select this to append to the list for each reading If this is not
303. nto LUMA and CHROMA As the gradients approach their gamut boundaties the most saturated colours diverge from the original gradient trajectory and the separation becomes less accurate This illustrates why images whose colours lie well within their RGB gamut such as the GretagMacbeth Color Checker can be separated into their LUMA and CHROMA components in perfect agreement with the original RGB file But images containing very saturated colours will be less successfully separated and require post production to correct the fall off unwanted colour leakage DODGE SRGB R C G M B Y Gradient Plots Yxy ProPhoto RGB R C G M B Y Gradient Plots Yxy Page 150 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT ProPhoto RGB Red Cyan Gradient Pair SRGB Blue Yellow Gradient Pair ProPhoto RGB Blue Yellow Gradient Pair In each gradient pair the original gradient is above the separated gradient LUMA and CHROMA though the gradient plots give the best indication of the leakage in the most saturated colours that are beyond the gamut limitations of this printed page Having successfully separated the colour from the luminosity of the image the question arises as to whether the same or similar advantages accrue from editing the extracted and separated color as happens when editing extracted luminosity There are three immediate benefits from separating colour and luminosity i the
304. ny changes you make to the appearance of the image in the ACR will be applied to the image that is opened in Photoshop s main editing space but won t alter the original image data of the Raw file The adjustments you make in the ACR dialog box are instead saved as either a sidecar file xmp or in the computer s Camera Raw database FOUNDATION PROJECT 2 In the last chapter we looked at the basic adjustments that you would make to a Raw file in order to optimize the photo here we will employ some of the additional features to take our ACR based editing even further If you don t have your own Raw files to work on the example file named Foundation Project 02 is located on the book s accompanying DVD The reader should not see this as a rigid step by step guide but instead use the project file to get a feel for the techniques discussed here Page 475 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT e large amounts of data a detail contained LENS CORRECTIONS STEP 1 In the 6 1 update of Adobe Camera Raw the features in the Lens Corrections pane have been dramatically improved to include both automatic Profile tab and manual Manual tab controls for the removal or correction of the three most common lens based errors geometric distortion chromatic aberration and vignetting The Automatic corrections are lens and camera specific and are applied to the whol
305. o alter specific sections of the photo These types of changes are brand new to ACR and are called local corrections But we re getting ahead of ourselves To start with the global changes you will need to set the brightest points within the image using the Exposure slider and darkest points using the Blacks slider Make sure that the clipping warnings for both highlights and shadows are active when making these changes Immediately you will notice how much of the highlight detail is displayed with the red highlight warning Dragging the Exposure slider to the left will help reduce this problem but don t go so far as to Page 488 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT render the face of the subjects too dark Some clipping will still be apparent at this point Use the Recovery slider to help rescue these highlight tones which may otherwise clip and also employ the Fill Light slider to lighten the very dark shadow tones that may not print with any texture or detail think of Recovery and Fill Light as non destructive variants of the shadow highlight adjustment feature The Brightness and Contrast sliders can be used to fine tune the midtone values If the image becomes too dark because you are dragging the Exposure slider to the left in order to protect highlight detail instead use the Recovery slider to darken the highlight detail witho
306. o be verisimilitude or realism this is another example of Photoshop s break with the historical and referential pact between photography light and the culture of appearances Modifying the curve shape alters output levels relative to their original input value so that a pixel with an input of 100 raised to 150 becomes an output value 50 levels brighter Locating the pixel brightness of the solid blue colour on a Photoshop ROB curve results in a single control point not three points representing the respective 64 red 128 green and 192 blue brightness levels though their respective brightness levels are correctly located on their individual Red Green and Blue curves Therefore Curves are not as some authors However whether this difference is a useful feature error software bug misunderstanding or conceptual aberration is far from clear Ben Willmore considers Curves such an important tool that he devotes an entire chapter of 35 pages to Understanding Curves lie is a passionate advocate of Curves If had to pick one adjustment tool to use all the time it would definitely be Curves By Page 86 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT mastering the Curves dialog box you have so much control over your images that you might wonder why you would ever need to use the Levels or Brightness Contrast dialog box find that the majority of Photoshop users never
307. o draw straight lines Crop Crop and image and resubmit it Guide Display guide lines on the image to check for alignment Change the orientation by pressing SHIFT Esc will remove the guides and change to Pan mode for general navigation Spectro Take measurements of the job being viewed A popup window will appear displaying the Lab Lch XYZ Density values at the point the Spectro cursor is onscreen Panels Open the Panels window featuring the Channel View Notes Publication and Effects panels Panels can be shown or hidden as required using the buttons at the top of the window Channels Opens the Panels window showing only the Channels section see Channel Viewer below Page 361 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT e Notes Opens the Panels window showing only the Notes section see below e Publication Opens the Panels window showing only the Publication section see below e Effects Opens the Panels window showing only the Effects section see below THE CHANNEL VIEWER The Channel Viewer shows the channels or plates of the job currently being viewed in SoftProof Plates can be turned on or off by clicking the relevant checkbox to the left of the plate name and can be reordered by clicking and dragging them to a new position The plate colour and associated attributes can be changed by double clicking and choosing another Special
308. o produce accurate proofs The settings window is split into two 2 tabs View Options and Press Configuratio n Page 356 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT VIEW OPTIONS Allow Multiple Windows Check this box to enable or disable Allows jobs to be opened and viewed in separate SoftProof windows If disabled a newly opened Publication will replace the current one being viewed Rotation Control the orientation of jobs when they first load The option None leaves the job in its imaged or rendered orientation Zoom Level Select the default zoom setting All Fitting zoom modes calculate the size based on the monitor resolution This is set in the Colour Management tab of the System Settings Enable Pager Thumbnail Enable or disable the thumbnail viewer in the Page Navigator panel of a softproofed publication When enabled a thumbnail of a page appears when the mouse pointer hovers over the page number box The shortcut key of shift T in the SoftProof window can also be used Back Page Rotation Set a default rotation for a back page when using the option Show Back Page Page 357 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT e Resampling Algorithm Set the resampling algorithm for jobs as they are viewed in SoftProof e Screening LPI Enter the desired value for screen ruling
309. ocess to be manipulated for the best possible print is legendary The photographic artist now has the ability to create mind boggling impressions with this tool called Dye Transfer The choice of contrast color balance and density control for emotional impact are finally in the hands of the qualified Dye Transfer printer Pace 1989a j The withdrawal of the Dye Transfer Process only four years later left a significant gap in the field of fine art photographic print making No longer a viable commercial process Dye Transfer was also no longer an artistic process Ironically this was happening at a time of growing acceptance and inclusion of colour print making in fine art photography practice and scholarship j The tradition of the fine print had been a dominant force in fine art photography since the start of the 20th century It was a position accepted by most advanced photographers Szarkowski 1973 p 96 Epitomised by the American photographer Alfred Steiglitz formalised by the 164 group and popularised by Ansel Adams the fine print tradition Page 20 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT still exerted considerable influence in the late 20th Century Attention to the fineness of its rendering inherent photographic qualities and crafted outcomes are often listed among the defining characteristics of a photograph The modernist photographic aesthe
310. of the screen edge boundary e Adjust the brightness of the screen so that the black rectangle below is is almost as black as the dark border of the screen With some monitors it is possible to move the screen image to expose a larger border This may help when evaluating how dark the border should be e When this adjusting is done you might want to adjust the contrast back to less than 10096 depending on the quality of your monitor SETTING UP SOFTWARE The final step setting monitor gamma is done after configuring Photoshop Please configure Photoshop before continuing See next section Setting Up Photoshop Open the Adobe Gamma control panel which is included with Photoshop and found in the Help menu under Color Management Page 459 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT If the control panel opens in Assistant mode change to Control Panel mode before continuing Select the option View Single Gamma Only Open Photoshop and navigate to the Extras folder Capture One software and open the PhaseOne CMS Checker Lowres tif At the bottom of the PhaseOne CMS Checker are a color chart and a grayscale Adjust the Gamma control so that all the steps in the gray scale are clearly visible To the left of the grayscale is an image of a model wearing a black hat Ensure that there is detail in the hat Finally check the lower right corner of the
311. ofile to Adobe RGB 1998 Page 454 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT e Set the CMYK Default to the desired CMYK profile e Set the Gray Default to Generic Gray For on the fly CMYK conversion Phase One Installs the following CMYK profiles by process type region Offset Print DIC Catalog Offset Print Euro Catalog Offset Print Toka Catalog Offset Print Toyo Catalog Offset Print US Catalog Custom Color Management Off ColorSync Workflow Emulate Photoshop 4 Europe Prepress Defaults Japan Prepress Defaults v Phase One Workflow Photoshop 5 Default Spaces U S Prepress Defaults Web Graphics Defaults When ColorSync System Preferences are setup Capture One and Photoshop can subscribe to these settings SETTING UP PHOTOSHOP COLOR SETTINGS e Start Photoshop e Inthe File menu select Color Settings e Select Phase One Workflow in settings pop up menu in the top If Colorsync System Preferences are setup correctly Photoshop will now now show accurate RGB or CMYK values VISUAL INSPECTION To test the Color management setup and make a visual inspection open the PhaseOne CMS Checker Lowres tif in Photoshop Located in the Extras folder on the CD Page 455 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT The file should have an Adobe RGB 1998
312. old map on the pixels displayed causing some of the pixels to be rendered at a different colour Page 233 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT HALFTONE OPTIONS TRADITIONAL ROSETTE DOT Dotshape Choose the dot shape to suit your requirements from Round Inverted Round Elliptical Inverted Elliptical Diamond Euclidean or Line SuperCell Select this to choose SuperCell screening instead of standard halftone Produces a much better quality output than standard halftone Angle Degrees Enter the desired angle for each plate Screen LPI Enter the desired screen ruling for each plate Defaults Use this to select the default values based on the output resolution Page 234 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT 6 OUTPUT The Output data type determines the output format of processed jobs and where they are sent to for printing or file output The Queue panel sets the output driver used and allows auto cleaning of job Output queues The printer connection or file destination is configured in the Destination panel The Collating section has options for Nesting and Duplexing Maintenance allows for automatic printer maintenance functions to be configured QUEUE e Output Driver Select the desired output driver from the dropdown list Those available will depend upon the options enabl
313. olor space It is easy to convert colors from one device to a selected standard and from that color space to the colors of another device By ensuring that the reference color space covers the many possible colors that humans can see this concept allows one to exchange colors between many different color output devices Color transformations can be represented by two profiles source profile and target profile or by a devicelink profile Page 13 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT PROFILE CONNECTION SPACE In the terminology of the International Color Consortium a translation between two color spaces can go through a profile connection space PCS Color Space 1 PCS CIELAB or CIEXYZ Color space 2 conversions into and out of the PCS are each specified by a profile GAMUT MAPPING Since different devices don t have the same gamut they need some rearrangement near the borders of the gamut Some colors need to be shifted to the inside of the gamut as they otherwise cannot be represented on the output device and would simply be clipped For instance the dark highly saturated purplish blue color of a typical computer monitor s blue primary is impossible to print on paper with a typical CMYK printer The nearest approximation within the printer s gamut will be much less saturated Conversely an inkjet printer s cyan primary a saturated mid brightness g
314. olour swatch It is recommended the monitor be calibrated and set to the same match profile as is used for the softproofing Pagesetup e Resolution Choose the default resolution to use for the monitors This is used in SoftProof for calculating various fit methods Options include e Use System Settings The Client will calculate the system s monitor resolution e Custom Resolution Specify your own resolution e Calibration Expires Set a reminder to popup when a calibration needs updating ADDITIONAL MONITORS Specific settings may be set for each monitor when in a multi monitor environment The System Settings will show additional sections with Monitor 2 Monitor 3 etc listed To identify which monitor is which press the monitor indicator button to display a graphic in the middle of the screen for the relevant monitor CALCHECK MANAGED The Calcheck Managed option under Colour Management constantly reports the calibration status Page 415 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT of the monitor s By enabling this option a small transparent icon will appear on top of other windows giving the current x calibration status of the monitor This is linked to the Monitor ICC selected in the System Settings the time it was created with the MonitorCalibrator and the expiration time set If the monitor has been calibrated and the expiration time has not b
315. om the database The right side shows the item information allowing you to make any changes The Data Types section has two 2 views Browse amp Search Browse allows the user to view and select any of the database Page 206 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT items for display The tab containing the magnifying glass flips to a Search window which acts like a filter showing any items containing the search text mm amor ae See ey dim ihi kama Cer be AMAR D GA m EMT T LET 1 PYSTR we e Gpipseb gem A par a me Phe tiu Fa Page 207 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT MENU OPTIONS FILE EDIT New Create a new item in the database Save Save changes to the database Duplicate Make a copy of the currently selected item Revert Reload the last saved version of the currently selected item Delete Delete the currently selected item Print Print the details of the currently selected item Get Info Displays a popup window with two panels General amp Ownership General displays the type created and modified dates for the selected item Ownership displays the User and User Group permissions for the item Show Orphans Shows any item currently in the database not being used by a Pagesetup Add to Archive Add the selected items into a new Archive win
316. on than key tools and commands like RGB Curves now work as described in the literature and Photoshop s Help menu becomes even more helpful The digital process then begins to take on the appearance of a photographic process enriched and engaged with its own memory and the personal historical and cultural processes that define it only now operating at the speed of electrons not the speed of a dripping tap The independent editing of the psychological attributes of hue saturation and brightness is a significant step forward in how we work with rather than work against software like Adobe Photoshop and thereby conscientiously furthers the tradition of the fine print in the age of digital reproduction Page 170 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT NOTES 1 Luminosity in this case approximatelY corresponds to the LUMA formula that Photoshop uses for the conversion of ROB triplets to single channel rendenngs 2 There are many models accounting for the relative luminance of a tn stimulus colour response For example the deflning parameters of the widely used sRGB space are sRGB Space X Y Luminsence Red 0 648431 0 330856 0 222491 Green 0 321152 0 597871 0 716888 Blue 0 155886 0 066044 0 060621 The x and y coordinates are in the Yxy colour order system The values have also been transformed from the 065 to the 050 reference white
317. on Curve Paper Profile A ICC Tweak Set amp Output B Press Calcheck Chart A Pagesetup Pool Alphabetical List Data types Calcheck Chart A Gradation Curve A ICC Tweak Set amp Media amp Output Pagesetup A Pagesetup Pool Paper Profile B Press Page 211 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT e Calcheck Chart Used to provide a validation check for a hardcopy proof or a monitor e Gradation Curve Used to adjust colour in a job by applying a curve to the individual process colours e ICC Tweak Set Build up a library of colours that need tweaking for accurate output e Media Used to control configuration settings for Output Colour Correction ICC profiles Screen Printing amp Output Screening e Output Handles processed jobs and determines where the file is going and what format is created e Pagesetup Consists of modules to be configured to process and manipulate jobs for the desired output e Pagesetup Pool Print to one or more Pagesetups e Paper Profile Used to define the paper and ink characteristics of the Media being used by theoutput driver device e Press Contains the colour and dotgain attributes of a press Used by the SoftProof application to show the effects of printing a job on a particular press DATA TYPES USER INTERFACE AND CONTEXT MENU The Media Output Pagesetup Pagesetup Pools and P
318. on a Seybold Award for Excellence J Live Picture is a unique resolution independent digital imaging program that allows the seamless manipulation and editing of high resolution digital files in real time Conceived of and coded by its French inventor Bruno Delean in the late 1980s as a method of placing on the new Macintosh desktop computers of that time powerful image editing capabilities that up until then had only been available on very expensive and dedicated hardware dependent workstations such as the Quantel Paint Box Sapwater 1994 When Live Picture was first announced it already featured a fully implemented and colour managed 16 bit workllow independent and unlimited layers and the ability to process in real time any number of images of any size At the same time Adobe Photoshop version 2 5 didn t even possess layers or a layers palette let alone resolution independence or real time processing Even the simplest image editing tasks were extremely difficult to process in early versions of Photoshop and expensive accelerated video cards were required in the most powerful computers to efficiently process even relatively small Photoshop files It wasn t until 1998 that Adobe incorporated application level colour management into Photoshop and 2003 before they added 16 bit layers to Photoshop CS In 1996 John Sculley ex president of Apple during the development of desktop publishing and scalable font technology and then presid
319. on replaces the previous option of Authorisation Accounts Admin allows an authorised administrator to create modify and manage User accounts and User Groups Users can be reassigned to groups dependent upon the operating privileges granted to each User Group See the Accounts Admin Secure Mode section below for further information Loc Our SECURE MODE ONLY This menu item only appears while Megarip is in Secure Mode see Accounts Admin Secure mode for more information Selecting Log Out while using Megarip in Secure Mode simultaneously logs out the current user and generates the Login window At this point the options available are to enter a username and password Choose Server before login and to Quit the Megarip Client While the Login FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT window is displayed the Megarip Client is effectively LOCKED to all users The Server will continue to operate as normal CHATTERBOX Chat to other users connected to the same Server The Chatterbox window will display the Clients connected to the Server If the user has entered a nickname in the System Settings this name is displayed otherwise the machine name is used If the user s name cannot be selected the user has selected the Away option and is not available BROADCAST MESSAGE This allows messages to be sent to all users connected with a Client to the same Server Selecting
320. onto the Dock before they have been launched 4 To remove the Dock icons drag them off the Dock onto the desktop and release Mac OS X UPGRADE FROM V4 TO V5 The Megarip Version 5 installer automatically upgrades the V4 database to the updated V5 format However as a precaution when upgrading from version 4 it is strongly recommended that the database and ICC profiles are backed up prior to the install See the Backing up V4 section To upgrade 1 On the DVD navigate to the directory macosx and run the file Serendipity Megarip pkg 2 Click Continue 3 Select the drive and location to install the software Choose the folder Serendipity where V4 Megarip is currently installed Page 185 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT 4 Select Upgrade to begin the upgrade 5 Click Close when the installation has completed BACKING UP V4 Before upgrading to Version 5 it is strongly recommended a backup of the current version of software is made There are a number of ways to do this which have been detailed on the following page USING THE ARCHIVER The Archiver application in Megarip can be used to create a backup of your configurations To make a backup of your entire database Select Application Menu gt Archiver from the Client window 2 Once the Archiver has opened select Edit Menu gt Add to Archive All to add all items to the
321. oom that they will not be attempted there Caponigro 2000 p 53 The implication is that photography had been an incomplete medium to date awaiting more Page 29 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT godlike powers to fix reality and now they are available courtesy of Photoshop Gretchen 2003 p 246 j The colour fine print has remained a relatively unexplored under theorised and under resourced area in the literature of fine art photography This research project began by investigating and developing new techniques processes and procedures using conventional monochrome and integral tri pack colour photographic materials My aim was to bridge the technical and creative gap in fine print production created by the withdrawal of the Dye Transfer Process It also paralleled the rise of alternative or replacement digital processes that could be incorporated into the tradition of the fine print and in particular aid in the inclusion and development of the colour fine print The working hypothesis that grounded this project was that the tradition of the fine print of so much significance in the work of fine art photography in the age of mechanical reproduction was again both relevant and functionally useful in the age of digital reproduction This covered three principal areas of investigation e n investigating the genealogy of digital imaging systems soug
322. opied tweak from the clipboard to the rendering intent selected e Change White Point Change the white point of the paper Select the button and enter the X Y Z points If a Spectrophotometer is connected the white point can be measured directly into the system Page 224 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Zoom Zoom in and out of the Lab colourspace to see the point being tweaked in relation to the whole space L value Move up and down the L value to see the point you are tweaking in relation to the lightness Reset the value by clicking the ReCentre button ICC Profiles Choose the input and output profiles you are using to tweak These must match the ones selected in the Media as they are stored with the tweak set and are used during the mapping process Spectrophotometer Choose an online Spectrophotometer to read values directly into the tweak set Once selected press the Activate button to connect and take measurements If the device is being used by another application including a Serendipity application it will fail to connect Quit or disconnect all others first Page 225 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT MEDIA The Media data type contains all of the settings controlling the output of jobs as they pass through the Megarip colour management system CMS for proofing Set
323. oshop Luminosity can be charactensed as saturation weighted brightness This is also why it is hard to predict what effect changes to ROB Curves will have on the image and most likely why there is such confusion and inaccuracy in the literatare This also destroys the promise of a curve based precision editing system where brightness can be edited independently and separately from hue and saturation or saturation independently from hue and brightness It also renders the RGB colour space a profoundly inefficient editing environment though it remains the colour space of most digital scanners cameras monitors and digital photo printers minilabs The irony is that all of Photoshop s Image Adjustments Commands are effectively remapping the same set of transfer curves and matrix functions The highlight and shadow sliders in Levels adjust the end points of the Curve and moving the Levels midtone gamma slider is the same as horizontally adjusting the mid point of the respective input output transfer Curve The Color Balance tool has the midtone gamma sliders of Levels more conveniently arranged in a single dialogue box though they move in opposite directions to the mid tone sliders in Levels while Color Balance s Highlights and Shadows settings adjust custom gamma curves that pivot on the curve s Page 118 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT quarter a
324. otates the job 90 degrees This will override any rotation settings in a Pagesetup No of copies field Enter the number of copies ofthe job to be printed Copy Lock button Locks the number of copies to be printed for any files submitted until unlocked and changed Publication Name field Optionally type a publication name to which the submitted file will be assigned The job will be viewable in the Publication View of the QueueManager First Page field Enter the page number for the submitted file in the publication If submitting multiple files the page numbering will start at the defined page number and increase sequentially for each job Page 396 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT SUBMIT FILES AS ASSET Select files to send to the Studio application Asset queue Submitted Assets appear in the QueueManager queue as thumbnails but are not processed until submitted for printing from the Studio application see Applications Studio for more information SUBMIT ICC TARGET After selecting one or more ICC target files select a Pagesetup and Media to submit the ICC target file to Note This option is used as part of creating an ICC calibrated Pagesetup Media After creating and assigning a Paper Profile and Linearisation curve to a Media this option is used to submit an ICC target file to the printer with all ICC options disabled The target is then
325. ou can select one or more colours and drag them into a new order You can also use the up and down arrow keys and shift or control to multi select Generate Patches from ICC Select an ICC profile from which to create a set of patches Selecting this option displays a file chooser to select an ICC profile You are then prompted for the number of patches to generate The minimum number is 16 and maximum is 512 Add Colours From Library Add colours to the currently selected Calcheck Chart from a Special Colour Set Note When creating or importing new colours they are stored Page 215 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT with the default tolerance settings This is user configurable and should be set before the patch set is created PATCH DEFINITION e On the left are a series of controls allowing you to define each patch Selecting a patch from the list will load the colour into the colour match box at the top and load the Lab CMYK values into the respective fields To change the value simply type the new number into the relevant field e Lab or CMYK The Lab or CMYK value for the selected colour e Ae tolerance Set the maximumHe value for the selected colour e AH tolerance Set the maximumBH value for the selected colour e AC tolerance Set the maximumBC value for the selected colour e Patch Type Identify important patch types from the set The
326. our computer Run the Megarip Server An error message will appear as the Server will fail to recognise the dongle as valid Click OK to discard the error message Do not remove the dongle Go to File Menu gt Update Dongle A screen will appear asking to Enter Key Code 1 and Key Code 2 Refer to the shipment email for the details The first string in the Dongle reprogram string field is Key Code 1 The second longer string in the field is Key Code 2 The codes are separated by a space Copy and paste both strings into their relevant fields Do not copy the space Click on Update Dongle A confirmation message will appear when the dongle is successfully updated You will be asked to restart the Server Quit the Server application Only restart once the below steps have been completed BEFORE RESTARTING THE SERVER WHEN UPDATING FROM V4 To V5 1 Go to the installation directory for your Serendipity Megarip on the computer for e g C Serendipity Serendipity Serendipity Megarip 2 Open the lib folder 3 Open the printers folder 4 Sort the files by date Page 203 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT 5 Delete all old files ending in v so 6 Once the files have been deleted the Megarip Server can be restarted Failure to remove the old files from the printers directory will noticeably slow down the Server when it is restarting Pag
327. over what was available previously when color changes were limited to red green and blue channel based divisions and saturation control There are also three tabs across the top of the pane that allow color range adjustments to be made to the Hue color Saturation color strength and Luminance brightness independently Clicking the Grayscale tickbox switches the pane to a monochrome Page 497 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT conversion mode where the color range sliders adjust the type of gray that the hue is being mapped to Let s look at each section in turn Hue change W Saturation change Luminance change The HSL Grayscale pane provides color range based controls for altering the hue saturation and luminance of the colors in your photo In the Grayscale mode you can adjust how specific colors are mapped to gray Hue The Hue tab in the HSL control provides the ability to tweak the flavor of a specific color range Unlike the drastic changes brought about by the Hue control in Photoshop s Hue Saturation feature the sliders here manipulate the color of a selected color within a given range The Reds slider for instance moves from a magenta red through to a pure red to an orange red Moving this slider would enable the fine tuning of just the reds in a photo between these limits Page 498 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE R
328. overage limit for the ink channel by introducing white space into areas of coverage higher than the set limit The default setting is 100 i e no limiting Maximum Ink is a low level setting applied during screening e Sort Order e Patch Number Sort the patches in patch numbered order e Colour Density This is the density of the colour sometimes called Real Density It is the colourcontent of the patch e Visual Density This describes how dark the colour is ie how much light the colour is absorbing measured as Black This sort option is not available for Black where colour and visual density are the same Note Turning off an Ink Channel When Treat Light Inks as Separate Channels or N Colour options are enabled the option to turn off one or more of the printer ink channels becomes available Some inks often Cyan and Magenta produce patches with a high colour density while not being very dense visually During the process of calibrating a printer if even the small dot patch 2 of an ink has a colour density too high to enable that colour to pass a particular calibration standard turn off that ink channel by de selecting all the Density patches for that ink This should only be done where multiple inks of aparticular colour are available For example if patch 2 of the Cyan is still colour dense switch Cyan off and use only Light Cyan Switching off an ink Light 1 3 Cyan p 0061 D 2943 V 0 057 w 0 7
329. ovington New York Charles Scribner s Sons in association with the Renaissance Society of America 1999 29 16 John Gage Color and Meaning Art Science and Symbolism Berkeley University of California Press 1999 15 17 Jill Condra ed The Greenwood Encyclopedia of Clothing Through World History vol 1 Prehistory to 1500 CE Westport Conn Greenwood Publishing Group 2008 202 Available from http books google com Internet Accessed 7 Page 470 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT February 7 2011 18 John Gage Color and Meaning 57 19 Jill Condra ed The Greenwood Encyclopedia of Clothing Through World History vol 2 17 20 Amy Butler Greenfield A Perfect Red 9 21 Amy Butler Greenfield A Perfect Red 10 22 Victoria Finlay Color A Natural History of the Palette New York Ballantine Books 2002 97 23 John Gage Color and Meaning 31 24 John Harvey Men in Black 52 54 25 http fr wikipedia org wiki Fichier Van der weyden miniature jpg 26 John Harvey Men in Black 55 27 John Harvey Men in Black 63 28 John Harvey Men in Black 67 68 29 John Gage Color and Meaning 50 30 John Gage Color and Meaning 70 32 John Gage Color and Culture 63 33 Georges Duby and Philippe Aries eds A History of Private Life Revelations of t
330. ows jobs to be manipulated in a number of ways such as holding promoting deleting and reprinting VIEW OPTIONS e There is a lot of information available for viewing about each job as it passes through the system e The following sort columns can be selected using the contextual right click menu on the column header bar in the QueueManager display panel e Name Job name e Process Time Time taken to process the job e Status The jobs current status e Source The source of the submitted job Page 297 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT TOOLBAR OPTIONS Date The date and time the job was processed Media The Media used to process the job Pagesetup The Pagesetup used to process the job Queue The output queue the job was sent to for processing Size The size of the job disk space used Width The width of the job Height The height of the job DPI The imaged resolution ofthe job Output Colourspace The colourspace of the output cile Copies When multiple copies of a job are sent for printing this column counts down the numbers of jobs left to print Screening The screening applied to the job Thumbnail Shows a thumbnail of the job Job ID The internal Megarip ID number ofr the job Node The Server or Cluser Node the job was processed on Page The page number of the job Publication The pubication
331. painted section While in the Add mode it is possible to change the image s characteristics e g Exposure Brightness Contrast etc that are being changed by the adjustment The tool is automatically placed in this mode after creating a new mask You must select another mode New or Erase or choose another tool from the ACR Page 495 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT toolbar to cease the Add function Subtracting from As well as being able to add to an existing adjustment area you can also remove parts from s wemestews this mask To do so either hold MA A down the Alt Opt key and 7 paint away the areas to remove or click on the Erase entry in the Adjustment Brush pane While in this mode you can refine the areas of the picture that are being affected by the localized adjustment Creating new When first selecting the Adjustment Brush the feature is placed in the New mode in anticipation of creating a fresh or initial localized adjustment The c DEUM Adjustment Brush orn automatically changes from New to Add modes when you apply the first stroke of a new Pursuit From that time forward additional painting strokes will continue to build the mask until a new mode is selected or you select another tool Note To jump out of the Adjustment Brush mode just click on another tool
332. patches the default values are sufficient Comparative densities are not relevant when only using one dot patch In testing it was found that a combination of large Black patch 4 and small Magenta patch 2 produced good results If too much is used for example large Black large Cyan and large Magenta the result is wet output and the dots tend to fill in the shadow area Large dots of a colour like Cyan will produce film looking blue instead of black Black should always be the dominant colour INK LIMITING There is no need to enter any Ink Limiting as the plates are separated so there is no mixing of 2 3 and 4 inks This is different to ink combinations in the Screen Printing mode Page 280 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT LINEARISATION As Screen Printing mode prints only Black separations the creation of a simple Linearisation Gradation Curve to be applied to the Media is all that is required Follow the steps below to make a simple Linearisation Curve e Open the Lineariser application e Select the Media used for screen printing and print a chart for the Densitometer to read Only the Black channel patches will be printed and measured e Measure the values using the connected instrument and save the chart e The curve will be automatically allocated to the selected Media This can be confirmed by viewing the Media in the Workbench to ma
333. pectrophotometer and printer drivers may be missing if you run the software in 64 bit mode STARTING THE SERVER 1 Plug the dongle into a USB port 2 Launch the Server by double clicking the Serendipity Megarip file in the install directory OF serendipity meaarip the shortcut desktop dock icon The Server window will appear showing information about the Server software and the initialisation process will commence Note The Server will not initialise if a recognised dongle is not present on the computer from which it is run If the dongle is removed at any point while the Server is running all job processing will cease and the Server will stop shortly afterwards Once the dongle is reconnected close and restart the Server STARTING THE CLIENT Once the Server has completed initialisation the Client application can be opened FL ic e Launch the Client by double clicking the Serendipity Client Page 191 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT file in the install directory or the shortcut desktop dock icon e The Client will connect to the active Server and display the factory default Monitor window in the centre of the screen From this point configuration of the system or loading a pre configured setup can be done e Choose Application Menu gt System Settings e Select the Client tab gt General tab and choose your language under Internatio
334. pendent control of hue saturation and brightness Given that the Color blending mode is described as the Page 144 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT corollary of Luminosity blending it begs the question whether Color can be extracted as easily as Luminosity Initially the extraction of the hue and saturation of the image appears to be relatively straight forward Duplicating the image layer and filling with 50 grey blended on Luminosity does remove the luminosity from the Layer in the same way that filling with 50 grey blended on Color removes the color or so it would seem Extracted Luminosity Extracted Color Hue and Saturation T ayers Channels Wears A mS o Luminosity Opacity 100 el Lock Glata Fac 1cox fe B zA x f Bn Photoshop Layer Palette Combined Luminosity Hue and Saturation Blending the colour layer on Color above the background layer reveals no difference just as the Luminosity layer blended on Luminosity reveals no difference The combined luminosity layer blended on Luminosity and Colour layer blended on Color do add up to exactly the same values in the original Color Checker They are the same colours However blending the extracted colour layer on Color is not necessary if it sits below the Luminosity blended luminosity layer in the layer palette The gamut of most pictorial subjects can also be successfully sepa
335. pgroup provided the most critical support of its aims and advancement Live Picture held the promise of rivalling indeed potentially surpassing even the most sophisticated analogue photographic imaging systems No company before us John Sculley commented has developed resolution independent photographic quality tools for creative professionals Karson 1996 p xviii However it was still unclear whether electronic imaging could facilitate greater efficiency image quality and independent editing controls than the finest analogue photographic processes Adobe Photoshop s quantisation errors inefficiencies and lack of colour management meant that it was not a serious contender at that time If Live Picture could do this it held the potential of changing the course of photography Having just completed The poverty of desire as a demonstration of advanced analogue photographic editing masking and printing it seemed an ideal candidate for electronic exploration But could The poverty of desire be electronically processed to the same level of quality and cohesiveness as a large format analogue photographic print Could it deliver the same controls quality assurances and production efficiencies as analogue photographic Page 36 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT systems Could Live Picture be employed so as to replicate the creative processes strategies
336. photographic manual It contains no photographs Late 20th century editions if they do contain any photographs only demonstrate typical image processing faults T J e Preface to the first edition of The Manual of Photography states This Handbook has been compiled at the request of the Ilford Company in the hope that it may be of service to the large number of Photographers who apply the art to pictorial technical or scientific purposes and are content to leave to others the preparation of the sensitive materials that they use It makes no pretence of being a complete treatise on the principles of the art and it is not written for those for whom the experimental side of Photography has the most attraction Its aim will be reached if it serves as a trustworthy guide in the actual practice of the art At the same time an endeavour has been made to state in a simple way sufficient of the principles to enable the reader to work intelligently and to overcome most of the difficulties that he is likely to meet with Bothamley 1890 This assumed transparency of photography Page 24 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT independent of its source or application has been a generally defining distinction between the literature of photographic instruction and instruction in other creative fields such as music painting drawing Teaching a samba beat without reference to a
337. plays information about the driver and Media configuration important to the Paper Profile Page 273 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT PRESS The Press data type is used to emulate the properties of a press for softproofing Each Press configuration can be assigned a press ICC profile dotgain curves press sheet dimensions the number of ink keys ink and paper characteristics all combining to produce accurate onscreen softproofs The Press can be switched on the fly while softproofing to instantly show how a job will look if printed on a different press or on different stock DIMENSIONS Enter the size of the printable sheet area of the press and its number of Ink Keys The Key Width is calculated from these values COLOUR MANAGEMENT This panel is where the Press ICC profile is assigned e Press ICC Profile Select a press ICC This can be one created on the press or a printing standard ICC which is used as the target or match profile e Calcheck Chart Select a chart to verify the SoftProof s calibration status e Paper Colour Three 3 options are available Page 274 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT INK AND PAPER None Do not change the paper colour o ICC Profile Use the white point from the press ICC profile and apply as the paper colour or o Custom Enter
338. populated with Adobe Evangelists Ambassadors and Photoshop World s annual three day Photoshop love fest of training learning and fun in las Vegas Adobe 2007d It sounds almost too good to be true it is too good to be true Analogue photography excelled at maintaining the illusion of the appearance of continuous resolution and tonality Recurring debates as to the truth value of photography recycle through its history Thompson 2003 But digitisation breaks this accord by turning appearances into numbers where continuous resolution is digitised into steps of resolution called pixels and continuous tonality into steps of tonality called levels Pixel editing applications like Adobe Photoshop calculate images in numbers of pixels and levels A histogram relates pixels to levels by mapping the relative number of image pixels against each level of brightness in the image 2 The first tool in Photoshop s Image Adjustment menu is Levels It combines basic image adjustments such as highlight and shadow input and output sliders with a histogram A simple image a solid colour illustrates the tooUs relationship between pixels and levels Page 84 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT k Chanel GR P e aa Uo er Ovepus Levels 0 D Y Ar a 64 Red 192 Blue Photoshop CS2 RGB Historgam 64 Red 192 Blue Photoshop CS2 ROB Histor
339. pportunity to upgrade preserving any existing configurations WHAT S ON THE DVD The DVD contains all elements required to run Serendipity Megarip and associated programs They are divided into directories detailed below e Docs Contains all documentation e Dongle Contains the dongle drivers for Linux MacOSX and Windows e Drivers Contains the Megarip PPDs for all supported platforms e HTML Contains the information required for the web browser install This automatically launches the default browser for installation to begin e Linux Contains the Serendipity Megarip and AppleTalk installation packages for Linux e MacOSX Contains the Serendipity Megarip installation package for MacOSX e Serendipity Client Contains the Serendipity Client for all supported platforms e Test Print Contains Serendipity internal test prints e Windows Contains the Serendipity Megarip installation package for Windows Page 181 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT WINDOWS INSTALLATION If upgrading from version 4 to version 5 see Windows Upgrade from V4 to V5 INSTALLING THE DONGLE DRIVER WINDOWS The first step is to install the dongle driver To install 1 2 3 Remove all USB SuperPro dongles On the DVD navigate to the dongle windows directory Double click the Sentinel Protection Installer exe file to launch the inst
340. problem extrapolating an aesthetic response reading of loss in images that result from this process Page 67 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT At one time we spoke of photosgraphy s chemical archival fragility and the effort required to preserve our prints We now discuss the digital fragility of virtual photographic images as if they were an endangered species There are other aesthetic and methodological limitations directly imposed upon the image by the pixel editing process Take for example the relatively simple but eloquent task of dodging and burning a print to locally redistribute its values In the analogue darkroom you simply cut a disc of black cardboard or a hole in a sheet of black cardboard to whatever size is required and dodged or burned away For some analogue print makers the kinaesthetic relationship they establish between their feelings and their performance of the print a dodging and burning narrative dance in the dark is practically impossible in pixel editors How infuriating and disconcerting it can be to wait for a pixel editor to render the areas that have already been dodged or burned Even basic moves on photo resolution files take time to pixel edit and therefore disrupt this poetic narrative Despite ever faster computers such tasks still remain compromised by limited brush sizes Scaling the image sma
341. proves render quality and can be useful for finding artifacts within a job When enabled files submitted to the Pagesetup in 8 bit are upscaled to 16 bit for processing 16 bit mode requires more system memory for imaging rendering jobs and produces larger output files PUBLISH Allows Pagesetups to be published on a network as a Drop Folder or as a network print destination for printing from another software application To Publish a Pagesetup it is necessary for the Serendipity Megarip PPD to be installed on the same system on which the Megarip Server runs Application menu Download PPD e Publish DropFolder Allocate a folder where files can be Page 246 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT dropped in for processing Valid File Types include Postscript PDF JPEG TIFF Image Serendipity Blackmagic Image EPS PNG e Location Select a folder as a DropFolder The folder must exist and have read write permissions e Default Reset the DropFolder location to the default one Serendipity Megarip installation directory drop Pagesetup Name e Printers Choose to publish the Pagesetup as a network print destination allowing third party applications to print directly to it e Mac Enable to publish the Pagesetup as a Bonjour Zeroconf network destination for Mac OS X and Linux This option also publishes the Pagsetup as an AppleTalk destination
342. qual to one pixel of the job This is shown at 10096 This view mode has the quickest load time as no resampling for scaling is required e Show Actual Print Size Show the print size of the job e Fit Width Height Fit the job to the height or width of the preview window e Full Screen Change between full screen mode and window mode e Page Index Show Hide the page numbers from appearing at the bottom of the SoftProof window when viewing multi page publications e Loupe Display a virtual loupe on top of the image loaded The Loupe can be resized and magnification changed if required The current magnification is shown at the bottom of the Loupe 10096 means 1 screen to 1 job pixel Page 360 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT TOOLS MENU Palette Show or hide the floating tool palette The position is remembered the next time SoftProof is launched Pan Navigate around the image by clicking and dragging the job around the screen The cursor displays as a hand Zoom Zoom in or out of the job Clicking the mouse zooms twice the current percentage factor Holding SHIFT Clicking zooms out to half the current percentage factor Click and drag over an area to zoom in This works in both the main window and the Navigator Note Create manage and delete notes Measure Take a measurement on the image The cursor displays as a rule Use the shift key t
343. r The format must be Lab values space or tab delimited and no header information Note If importing characterisation data from one of the ICC profile packages or colour standards use the Import Patches From Files option PATCHES This section of the Calcheck Chart window displays the patches in the set Each patch shows its respective colour name and Lab values There is also a patch type and the tolerances for each standard The tolerances are assigned when the patches are created or imported and are based on the settings on the left Page 219 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT A tolerance setting can be altered by selecting the colour and entering a new value in the relevant box The Chart type can be altered via the we tat dropdown menu above the patches and a Press ICC Profile will appear if allocated The Press ICC Profile button only becomes available for CMYK chart types Page 220 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT A GRADATION CURVE A Gradation Curve is used to adjust colour in a job by applying a curve to the individual process colours There are six 6 process curves available CMYKOG The Gradation Curve can be applied to a Media either as a Linearisation Curve or as a Correction Curve A Linearisation Curve is normally applied as part of the early calibration stage
344. r example control where Cyan starts and adjust where light Cyan finishes s aum aub wu wu wi wx Separation Control is available when the Paper Profile is linked to a Media for a printer that has light inks enabled and the option Treat Light Inks as Separate Channels is activated This is set in the custom settings of the Media The sliders on the left show the inks where control is allowed i e those with light inks as well as heavy inks The graph on the right changes as the sliders are adjusted to see the effect of different values To view individual inks on the graph click the ink colour check boxes at the bottom of the screen INK LIMITS The Ink Limits tab has controls for limiting the ink mix of the channels applied in the Paper Profile The number of ink channels varies depending on whether the printer has light inks and whether they are being treated as separate or combined channels The window to the right displays a summary of the driver configuration from the selected Media OPTIONS e Yule Nielsen Number Set the YN number for the paper being profiled if known The default is 2 e Ink Limits Set the ink limits for the Paper Profile These are determined after printing Page 271 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT a chart and observing the percentage of coverage at which the mixture of inks causes problems Enter the value for each ink co
345. r Fail As designated by a green tick or red cross e Average AMaximum AStandard Deviation USAGE The Usage panel shows the amount of media used based on the values entered for Media Length above e Usage Meter Bar showing the amount of media used Text under the bar shows the exact amount as Used X Units of Total Units percentage Page 229 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT e Logged Period Time period date and time from and to the Media has been tracked since the last reset e Printed Number of jobs and total printed area of jobs tracked since the last reset e Reset Counter Reset the usage count for the Media COLOUR CORRECTION There are three 3 options for use to manipulate or fine tune the colour to achieve the desired results anas C aeren ium AB rr Petr Lm DEM Donne Laon EM Loe eng e Correction LUT Select a Correction LUT to be applied in the form of a Gradation Curve Preview the curves edit them or create new curves e Linearisation LUT Select a Linearisation LUT to be applied in the form of a Gradation Curve This is normally done as part of the standard calibration process with the use of the Lineariser Preview the curves edit them Or create new curves e Paper Profile Select a Paper Profile to be applied If the output is to a printer this is Page 230 of 503 FINE ART PHOTOGRAPHY POST
346. r attitude the way you approach the subject It is about excellence and consistency and practice Craft synthesizes art and technology and makes them work together seamlessly We not only have to know how the machines work but we also know and apply the making and design of photographs and the printing of ink on paper We must constantly synthesize the technology with the art in a rapidly changing complex and often frustrating digital age Unfortunately DeWolfe then proceeds to incorrectly explain fundamental technical concepts such as how Photoshop represents luminosity p S9 60 and chroma p 43 45 Curve functions p 94 97 Overlay and Soft Light blending modes p 163 165 and Photoshop color management p 243 24S Caponigro s Adobe Photoshop Master Class is an inspiring and comprehensive account of his artistic practice that also in correctly presents fundamental technical concepts such as the control of saturation independent of hue and lightness p 58 and lock down curves p 51 But their intentions are clearly not to abandon the concept of the fine print They both Want to embrace digital photography including colour imaging into the tradition of the fine print and fine art photography in general For Caponigro you can simply and effectively achieve tonal control that in a traditional darkroom would require much greater effort Some of these effects may be so difficult to achieve in the traditional darkr
347. r eg All Pagesetups e Add to Archive Selection Select individual items from the database to add to the Archive Selecting the type for e g Gradation Curves displays a chooser with all the Gradation Curves available to add to the Archive e Add to Database Choose to add items from the Archive to the database Add the whole Archive orselected items e Remove from Archive Remove the selected items from the Archive e Collapse Collapses the selected items if they are expanded e Expand Expands selected items if the item contains references denoted by a For example a Pagesetup will contain at least a Media an output and ICC Profiles Expanding the Pagesetup will display the other items connected with it Page 314 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT e Open Save Close Archive Open save or Close the Archive as mentioned previously Page 315 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT CALCHECK The Calcheck application is used to verify the calibration status of a printer or monitor ensuring proofs are printed and or softproofed accurately The user manually defines or imports Lab or CMYK values from a number of sources to create a Calcheck Chart The chart represents the print press standard against which the printer or screen are to be checked see the Workben
348. r images correctly according to the Windows ICC settings it only converts non sRGB images to the sRGB profile and therefore provides no real color management at all As of 2011 Google Chrome does not support color management by default SEE ALSO Color chart Digital printing International Color Consortium IT8 Linux color management Page 17 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT REFERENCES 11 Fairchild Mark A Color Scientist Looks at Video http www cis rit edu fairchild PDFs PRO29 pdf Retrieved 2008 05 09 Rodney Andrew The role of working spaces in Adobe applications Adobe http www adobe com digitalimag pdfs phscs2ip colspace pdf Retrieved 2008 05 09 ab Rodney Andrew 2005 Color Management for Photographers Focal Press pp 32 33 ISBN 0240806492 2 Color Management Color Space Conversion Cambridge in Color Upton Steve February 2008 Vista s New Color Management System WCS Microsoft 1997 04 23 Microsoft Licenses LinoColorCMM Technology To Improve Color Management in Windows http www microsoft com presspass press 1997 apr97 linopr m spx Retrieved 2008 05 08 The reader may verify this by examining the Properties of any ICM profile The Profile Information tab should contain the entry LinoColorCMM by Heidelberger Druckmaschinen AG Smith Colin Kabili Jan 2005 How to Wow Pho
349. r of these characteristic when darkening or lightening photo edges The Amount slider controls the strength of the correction effect and the Midpoint alters how much of the image is included in the enhancement The Roundness slider controls the shape of the vignetted area and Feather is used to adjust the softness of the edge of the vignette The highlights slider controls the way that the vignette blends with the lighter tones in the photo and is only available in the Highlight and Color Priority styles and when the Amount is set to darken edges negative values Page 503 of 503
350. rated into their luminosity Page 145 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT and colour by this method and the two separated layers fully account for these subjects The separation of the image into a luminosity layer and a coloar layer can be further enhanced by separating the colour layer into its individual red green and blue components The colour layer is duplicated three times and its opponent colour curves are zeroed That is the red separation layer is produced by remapping 255G to OG and 255B to OB This is repeated for the other colour layers so that only one of the three channels are active in each layer These layers are named CHROMA layers to distinguish them from LUMA layers though what has been extracted is not exactly the Chroma of Munsell s colour order system it is nevertheless instructive in this cage Extracted Color Hue and Saturation Extracted Blue Chroma Page 146 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT The layers are blended on wwe 18 owev ox Lighten to reconstitute the voce C L Fit 100 e original colour layer The j o layer order has no effect B on the result though convention would imply BB the descending order is red green and blue This is m also the order of colour B eaor a sensitized emulsion layers serlojdleisiuis in photographic films where b
351. re updating any dongles please ensure your Server is in Stop mode UPDATING THE DONGLE Before updating the dongle you must have received an email with the new strings included This will either come from Serendipity Software directly or via your Dealer Version 5 requires two 2 activation strings for entry in order to update the dongle The strings are separated in the email by a space TO UPDATE A V5 DONGLE e Plug the current V5 USB dongle into your computer e Run the Megarip Server e Goto File Menu gt Update Dongle e A screen will appear asking to Enter Key Code 1 and Key Code Refer to the shipment email for the details The first string in the Dongle reprogram string field is Key Code 1 The Page 201 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT second longer string in the field is Key Code 2 The codes are separated by a space e Copy and paste both strings into their relevant fields Do not copy the space e Click on Update Dongle e A confirmation message will appear when the dongle is successfully updated You will be asked to restart the Server e Quit the Server application and restart Page 202 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT TO UPDATE A V4 DONGLE TO V5 It is assumed the Version 5 software has been installed before updating the dongle Plug the current V4 dongle into y
352. reased speed and efficiency of electronic production where we now accomplish in a matter of hours what takes weeks in the analogue darkroom The problem with this argument is that Live Picture Page 70 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT and its code are now commercially buried dead to the world of photography and no longer even supported by the operating system it runs on Adobe Photoshop now dominates the world of digital photography but it also destroys the very impetus that brought it into the world Its pixel editing replacements however break an accord that goes back to the chemical and optical origins of photography However we choose to name this event the fact remains that a digital imaging program like Live Picture didn t break this accord and thereby preserved the wealth of photographic knowledge achievement and desire that has accumulated over time Personally value such accumulation in my work don t consider this a necessarily nostalgic or romantic response It is a desperate creative necessity NOTES 1 Adobe Digital Imaging front page http www adobe com digitalimag main htmlZ accessed 1 May 2000 2 According to the most recent edition of British Books in Print and the complete catalogues of the U S Library of Congress including its REMARC database since Photoshop s first commercial release v l O in 1990 the number of books in print who
353. red brilliant red shadows are added to the figures Page 54 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT STAGE 3E The overall Colour Composition consists of four independent layers the dominant hue mood defining layer the localised colour contrast layer the HCPM shadow mask layer and its red colourization layer This methodology allows any of the aspects of the colour composition to be reconsidered and refined at any stage of the workflow Page 55 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT This additive process also accumulates and groups together the thoughts feelings and experiences that define the Colour Composition its aesthetic and conceptual strategies and how it functions and contributes to the overall pictorial structure of the image Because the image s colour content is grouped on separate layers in the layer stack the collective Colour Composition also remains independent of and does not compromise the Drawing or Tonal Compositions Page 56 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT STAGE 4A the fourth stage of the image editing workfiow involves resolving the Spatial Composition This includes local and global adjustments to the image s drawing tonal and colour balance separate from the Drawing Tonal and Colour Co
354. reening 232 OUTPUT Queue 235 Destination 237 Maintenance 243 PAGESETUP Output 245 Publish 246 Asset Queue as a Published Pagesetup 248 ICC Profiles 249 ColourKeys 252 Input Screening 253 Postscript PDF Options 254 Resampling 255 Logo 257 Effects 257 Media Effects 259 PAGESETUP POOLS Publish 262 Job Queuing 263 Pagesetups 264 PAPEPROFILE Toolbar Options 265 Density Patches 267 Sift and Sort Options 268 Paper Profile Graph 270 Separation Control 270 Ink Limits 271 Options 271 PRESS Dimensions 274 Colour Management 274 Ink and Paper 275 SCREEN PRINTING Configuration 277 235 244 262 265 274 277 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Paper Profile Configuration 280 Summary 281 MONITOR 283 EDIT 284 MENU OPTIONS 284 Layout 284 Tabs 285 Reordering Tabs 286 MONITOR MODULES 287 CLIENTLOG 289 Filtering Options 289 Display Options 290 ClusterStatus 291 DROPZONE 292 MEDIASTATUS 294 QUEUEMANAGER 297 View Options 297 Toolbar Options 298 Configuration Options 303 QUEUESTATUS 304 SERVERLOG 306 Display Options 307 STATUS 308 THUMBNAIL 308 APPLICATIONS 310 Archiver 312 CALCHECK 316 ClusterManager 323 Densitometer 328 FLIPBOOK 333 Publication Panel 334 Pagination Panel 334 Page View Panel 334 Page View Contextual Menu 335 Page Navigator Panel 338 View Options 339 Press Configuration 340 LINEARISER 341 The Interface 341 Toolbar 342 FINE ART
355. reenish blue is outside the gamut of a typical computer monitor The color management system can utilize various methods to achieve desired results and give experienced users control of the gamut mapping behavior RENDERING INTENT When the gamut of source color space exceeds that of the destination saturated colors are liable to become clipped inaccurately represented or more formally burned The color management module can deal with this problem in several ways The ICC specification includes four different rendering intents absolute colorimetric relative colorimetric perceptual and saturation P ABSOLUTE COLORIMETRIC Absolute colorimetry and relative colorimetry actually use the same Page 14 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT table but differ in the adjustment for the white point media If the output device has a much larger gamut than the source profile i e all the colors in the source can be represented in the output using the absolute colorimetry rendering intent would ideally ignoring noise precision etc give an exact output of the specified CIELAB values Perceptually the colors may appear incorrect but instrument measurements of the resulting output would match the source Colors outside of the proof print system s possible color are mapped to the boundary of the color gamut Absolute colorimetry is useful to get an exact specified color e g
356. represents in the history of Photography Unfortunately Photoshop s Dodge amp Burn tools do not perform as the tradition or the iconography implies To be fair to the problem there are many ways of achieving the same outcome in Photoshop for example the seven plus ways of changing contrast Some authors are quite critical of this duplication and Photoshop s tool set in general Michael Kieran believes that although you can mess up an image with many of the Image gt Adjustment commands or indeed almost all the tools in Photoshop there are two in particular that all Photoshop experts agree you should eschew gesundheit Variations and Brightness Contrast Kieran 2003 p 102 It is possible that Photoshop s Burn and Dodge tools fall into the same category and that there are more Page 97 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT eloquent and accurate ways of achieving the desired effect An indication that this might be a correct interpretation is that the Burn and Dodge tools can not be used with advanced Photoshop controls such as Blending Modes Blending modes provide incredible flexibility in specifying how the tonal properties of each layer affect the resulting blend Kieran 2003 p 200 Blending modes when combined with advanced tools like Photoshop Calculations present some of the most potent image processing methods that digital imaging c
357. ress Data Types have multiple configuration panels or sections governing the different functions they control These data types have a row of buttons or tiles across the top of Page 212 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT their configuration panels allowing the user to instantly jump to the section named If any of the panels are not required they can be hidden by using the X in the top right corner of each To show any hidden panels click on the panel name in the row and it will appear Shift click will hide them again Publish Colour Correction CC Profiles Colouriteys Input Screening A contextual right click menu is accessible in any of these individual sections allowing the user to access the Find function Jump to another section or change the background colour of the panel for easy identification Page 213 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT CALCHECK CHART The Calcheck Chart data type is used to setup the chart for the validation check The patches that will be used are created along with the target standards and tolerances These items are saved to the database and can be used and or adjusted at any time The Calcheck Chart is then used in conjunction with the Calcheck application to provide a validation check for a hardcopy proof or a monitor Once the chart is setup it norm
358. result Checkboxes toggle pass fail views Results can be displayed in one of three formats selected via dropdown menu Show Error Bars Shows two 2 coloured spheres joined by a bar for each patch positioned in a 3D Lab colourspace The dull sphere represents the reference value for the patch the shiny sphere is positioned based on its Lab values in the colourspace The relative distance between spheres shows the Ae between them o Error Plane Shows a line of coloured spheres representing Calcheck Label amp Report Sample each patch lined up in order The larger the sphere the higher the Ae o Error Spheres Shows a coloured sphere for each patch position in a 3D Lab colourspace The larger the sphere the higher the Ae CONTEXTUAL MENU OPTIONS CLUSTERMANAGER Export Export the colour patch data from the display panel to a text file Import Import colour patch data into the Calcheck application from an exported text file Clustering is the ability to share the workload of processing jobs across multiple devices Slaves or cluster nodes can be installed on other machines on the network and jobs can be sent to them from the Master for processing Page 323 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT The ClusterManager is used to add and manage these cluster nodes They can be enabled for use in imaging rendering or both As a node device starts up it
359. reveals its illusionary Page 37 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT limits To maintain its illusion of continuousness the digital subject must be rendered before the fact into sufficient steps of resolution pixels that they remain undetected in the print This has a bearing on the order and timing of image editing processes The second distinction is a shift from traditional analogue pre production to predominantly digital post production For example Cartier Bresson s decisive moment is grounded in the premise that photographs are created at the moment of exposure Cartler Bresson 1952 All subsequent processing is post that defining moment and merely serves to reveal the captured moment Contrary to the decisive moment the digital moment becomes we can always fix it in Photoshop This has a bearing on the division of labour who does this and location of resources where is this done The third distinction is analogue photography s accumulative and collective personality Photography doesnt forget It archives even our accidents such as the hair caught in the film gate during exposure being faithfully inherited by all subsequent processes until the final print where its honesty can be retouched and hidden Defining the syntax and materiality of digital post production will have a bearing on understanding how the aesthetic of specific analogue image
360. rocesses Photoshop s neat heuristic approach to image editing reconciles the perceptual attributes of colour vision hue brightness and colourfulness with the fundamental particles of digital photography pixels and levels to facilitate decisive and independent image production via the power or Photoshop Curves Page 94 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT The research problem whether electronic imaging can facilitate greater efficiency image quality and independent editing controls than the finest analogue photographic processes would appear to have been satisfactorily resolved because Photoshop s earlier quantisation errors inefficiencies and lack of colour management have also presumably been resolved If we can master the fundamental Photoshop tools like Levels and Curves then the world s most widely used digital imaging software with the unrivalled power of the professional digital image editing standard Adobe 2007b will be a worthy successor to Live Picture and in turn my earlier Masked type C analogue editing and printing process So it would seem that the revolutionary transformation from analogue to digital photography is complete That is until you start editing images Before Burning In After Burning In foreground A holiday snapshot filled with memories of the time place and being there The foreground was darkened wit
361. rocessing of jobs Slave Node A separate processing node on the network Used for processing jobs by a Master TCP IP Transmission Control Protocol Internet Protocol Visual Density The darkness of the patch measured how much light is absorbed The more light absorbed the darker the Visual Density WAN Wide Area Network Workbench Client application used to configure the Server YN Yule Nielsen Number Yule Nielsen Number A fudge factor used when calculating tint dot area from density readings Page 444 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT COLOR MANAGEMENT GUIDE PHASE ONE INTRODUCTION Color Management is often thought of as difficult to understand and difficult to use In fact with a little time and practice it is possible both to understand and use color management effectively This Color Management User Guide is written with digital photographers in mind The aim is to provide sufficient information for the digital photographer so that the finished result whether it is a JPEG file for the internet an image made on an ink jet printer or a photograph reproduced in a magazine is as faithful to the original subject as is possible STANDARDIZATION OF COLOR VALUES AND CALIBRATING DEVICES The key to successful color management is standardization THE BASIC CONCEPT IS THIS If the color values of the original sub
362. ropdown 6 Click Add ON SERENDIPITY MEGARIP Now that the printers are configured for Windows and Mac an output from Serendipity Megarip to the printer needs to be setup pe re ee M il j k 7 For this example a setup for the HPT1100 is required The Pagesetup is the same as if you were driving the device directly The only part A HT 1i 1 that changes is the o Destination section as this configures the method by which the print job is delivered to es A the device 1 Open the Workbench and choose the Output to be used to print to 2 Make sure the driver matches the output device 3 In the Destination panel bottom select the driver to be Local Print Queue 4 Enter the path which is the name of the printer created on the Mac For this example hp_t1100_via_tanglefoot is entered 5 Save the output configuration and test it 6 Send a test print and check it is successful Page 433 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT SERENDIPITY MEGARIP SERVER RUNNING ON WINDOWS If the Server is running on a Windows machine the output can be configured to print to any configured printer This is very simple to setup and can be used if the printer is connected to the network or to the machine via parallel port USB or FireWire LOCAL WINDOWS PRINTER The first section of setting up the printer on Wi
363. rovides information about the Server including version platform speed processors hostname IP product and vendor Page 209 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT What s This Select this and click on any part of the interface to display a short help description CONTEXTUAL MENU RIGHT CLICK Add to Archive Add the selected items into a new Archive window See the Archiver section for further information New Folder Folders are a great way to organise the configurations if there are a lot of items The folders are based on a Client s use which means each user can have their own folder setup if they desire New Folder with Selection Places any selected items into a new folder Export as C5 Pack Allows users to export Media files from the Workbench to a specified location for use with the C5 application Note The folders are stored internally inside the database and are not real physical folders Users can only create remove and manage items from within the Serendipity Client Page 210 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT WORKBENCH DATA TYPES There are nine 9 data types databases within the Workbench that can be used and configured to accurately process jobs Each will be explained in detail The data types are Organised List Data types Pagesetup amp Media A Cradati
364. rst glance it would appear that the digital conversion of photography is all but complete Beginning with the miraculous revelation on the monitor of the image latent to its processing and most recently with the commercial capitulation of film manufacturing to the CCD CMOS chip it would Indeed appear that most mysteries vagaries and or market forces have been won over Not that it was ever going to be much of a contest The inevitability of such progress has rarely been challenged though there remain some strange anomalie amp Photographic print processing for example spurred on by better economies and networked distribution expensive advertising campaigns like Kodak s we miss real pictures pictures we can hold in our hand pictures are baclr and numerous practical considerations have ensured that the professional and amateur photo finishing markets have continued to prosper At the same time parallel technologies like the ubiquitous ink jet print have created new markets businesses and outlets for creative and inventive expression Even a digital Leica M series rangefinder camera has been released More than just an exquisite tool and a precision instrument a Leica rangefinder camera is an icon of photographic connoisseurship And with ever more powerful computers even Adobe Photoshop s inherent inefficiencies and Inconsistencies don t appear quite as annoying or inhibiting as they once were Digital processes have also enlar
365. rvers or Cluster Nodes e ClusterManager Open the ClusterManager application to manage the Cluster e Refresh Update the status e Increase Inset Increases the gap between the list items e Decrease Inset Decreases the gap between the list items e Font Options Change the size of the text Page 291 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT DROPZONE A DropZone is a place where files can be dragged and dropped for processing The user selects Pagesetups Pagesetup Pools or the Studio application Asset queue to add to the DropZone as a DropSpot These DropSpots accept the same file formats as the DropFolder Postscript PDF JPEG TIFF Image Serendipity Megarip Image EPS PNG The available contextual menu options are Add DropSpot Select one or more Pagesetups Media to add to the DropZone Selecting this displays a chooser window showing all available Pagesetups Media Add Asset DropSpot Adds a DropSpot for the Asset queue Assets are then manually laid out nested and printed using the Studio application see Applications Studio for more information Reorder DropSpots Displays a reorder window Select one or more DropSpots in the list and drag them to a new location or use the up and down arrow keys to move the position Click OK when finished Page 292 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND
366. s The Client monitors the whole process from start to finish showing a jobs progress in a QueueManager and QueueStatus window Jobs can be managed separately by placing a job on hold releasing a job cancelling or promoting as desired The processes queues can be paused at any time holding all jobs from spooling imaging rendering or printing If a job fails the errorexamined rectified and the job retried There are logs reporting all Server and Client functionality and job information from first detection on the RIP to final output The logs can be searched filtered or saved to a file The system creates a database of all configurations calibration curves and other settings This database can be backed up on demand or automatically so a working copy is always available Page 179 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT It can be copied to any other Serendipity Megarip as a whole database or as individual items This applies to any output characteristics Page 180 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT INSTALLATION The installation section describes the process for each platform in turn The software is supplied on one DVD for Macintosh Linux and Windows versions All versions come with a dongle and require a dongle driver be installed Existing installations of the software are given the o
367. s of paper and or different developers could also be selected and recombined until the desired effect was discovered Based on the principle of cumulative knowledge the darkroom s discrete range of aesthetic possibilities quickly inspired a comprehensive understanding of their material personalities in turn fostering an integrated yet poetic image processing system As Emmet Gowin recalls When first started getting sensitive to printing often prepared four developer trays for a darkroom session one with a plain water bath one with Kodak Dektol one with Kodak Selectol Soft and one with Amidol Each has different characteristics of speed colour and contrast The use of Amidol with a short initial development followed by a longer water bath is excellent in reducing contrast by subtle degrees in these early days when worked with these three developers plus water tested each print in the different solutions if found a characteristic that suited a different kind of negative took advantage of this by finding another negative which more closely matched the quality of the developer This taught roe that each negative and print was in some way individual Gowin 1978 p 42 Page 159 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Page 160 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Learning the personali
368. s recommendations Ensure that Photoshop is setup according to Phase One recommendations If significant color variations persist then the printer may require servicing Page 464 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT RENAISSANCE CLOTHING http renaissanceclothing blogspot com 201 1 02 meaning of renaissance and medieval html Renaissance clothing ideas history and research Also covered Costumes for Renaissance Faires Tuesday February 8 2011 THE MEANING OF RENAISSANCE AND MEDIEVAL CLOTHING COLORS This post is designed to meet the needs of people looking for the symbolic meanings of Medieval and Renaissance clothing colors It also describes the colors worn by certain members of society The meaning of colors is not a simple and exact body of knowledge Even during the Renaissance and Medieval periods the meanings of colors were debated more about this below the list So consider yourself forewarned about the vagaries of color symbolism in clothing The list below while not comprehensive does provide ideas from secondary sources about what different colors represented and how they were used e Reds Renaissance O High social status royalty gentlemen men of justice 1 oO Worn by judges and similar persons Scotland the Holy Roman Empire England s Court of Common Pleas occasionally by peers in English Parliament royal magistrates ki
369. s speed is calculated When a job is submitted for processing the Master machine has priority as no network traffic is required If the Master is busy processing another job the job can be sent to the fastest available node The node processes the job and once completed sends it back to the Master It is then ready to accept another job Nodes can be installed on any machine on the network Running a Cluster Node requires a separate Megarip dongle If extra Megarip dongles are available any Server can act as a node if it is started as a Cluster Node see The Megarip Server section for more information Note In this mode the Server can only be used as a Node slave for another Server It is recommended that the database be backed up and job queues cleared before a Megarip Server is started as a Cluster Node This avoids any conflicts with existing job IDs or settings MASTER PANEL This panel displays information about the Master Server machine Page 324 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Product The Serendipity Megarip software in use Version The Server software version Hostname The network name of the Master Server IP Address The network IP address of the Server Speed The relative speed of the Server calculated by Megarip Processors The number of CPUs in the Server machine Platform The operating system kernel version ofth
370. s access to direct job submission options system settings and extra functions and utilities SUBMIT FILES Select files to send to a Media and Pagesetup for processing One or more files may be selected for processing Selecting Open will present a chooser showing the Pagesetups or Pagesetup Pools and Medias available Choose the combination to submit the files to and click the Submit button This will copy the files into the system for processing The flow control can be enabled to hold the job after imaging or rendering the number of copies can be set or jobs can be placed as pages in a publication SUBMIT WINDOW The Submit window is comprised of four 4 sections a Pagesetup Pagesetup Pools selection list a Media selection list an Information panel displaying details of the currently selected Pagesetup or Media and a Submission control panel Page 394 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT PAGESETUP SELECTION LIST This list has two 2 buttons above it Only one can be active at any time e Pagesetup When selected this button displays a list of Pagesetups available to submit jobs to e Pagesetup Pool When selected this button displays a list of Pagesetup Pools available to submit jobs to An active selected Pagesetup is highlighted in blue MEDIA SELECTION LIST This list is only active if the Pagesetup button is selected in the Pagesetup
371. s can be digitally re mastered The fourth distinction is that analogue photography is essentially a non destructive workflow That is it is an additive process where nothing is endangered or lost during processing For example my analogue masking techniques never alter the original film negative transparency because all Page 38 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT image edits are located in supplementary sheets of film as masks This conservation or integrity of the image has a bearing on quality control and creative opportunities in digital processes Images are also composed of images both real and imagined and image editing is greatly facilitated by the sequential resolution of the following four compositions e The DRAWING COMPOSITION defines the mapping of the image and includes cropping dividing aligning and spotting It addresses and resolves distinctions such as larger smaller sharper duller above below e The TONAL COMPOSITION defines the drama in the image It addresses and resolves distinctions such as lighter darker harder softer e The COLOUR COMPOSITION defines the mood of the image It addresses and resolves distinctions such as warmer cooler e The SPATIAL COMPOSITION defines figure ground and pictorial relationships It addresses and resolves distinctions such as push pull Shallow deep near far All four compositions need to
372. s closed It is recommended the profiles be saved in the default ICC Monitor directory Page 353 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT e Instrument Choose one of the supported devices from the list e Display Select the display type for calibration LCD CRT RAW Page 354 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT SOFTPROOF The SoftProof application is used to proof a job on the screen There are many tools available to check every aspect of the job at any stage of production or processing SoftProof can be used in conjunction with or instead of a hardcopy proof moo SoftProof Epson N Color2 1 eps Imaged preview 5 88235 Using a calibrated 1 monitor and i configured Press settings proofs can be viewed with precise colour accuracy and verified onscreen All job plates are shown and can be turned on or off or changed as desired Colour attributes and plate characteristics can be changed to see the effects of different printing processes including paper types and the effects of show through from the reverse side The data can be exported to various formats including CIP3 and PDF An InkKeyViewer below can display a job as it would be on the press with the values for each Key The ink weight can be calculated and over ink are
373. s one of the goals in the development of sRGB Page 12 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT COLOR PROFILES EMBEDDING Image formats themselves such as TIFF JPEG PNG EPS PDF and SVG may contain embedded color profiles but are not required to do so by the image format The International Color Consortium standard was created to bring various developers and manufacturers together The ICC standard permits the exchange of output device characteristics and color spaces in the form of metadata This allows the embedding of color profiles into images as well as storing them in a database or a profile directory WORKING SPACES Working spaces such as sRGB Adobe RGB or ProPhoto are color spaces that facilitate good results while editing For instance pixels with equal values of R G B should appear neutral Using a large gamut working space will lead to posterization while using a small working space will lead to clipping This trade off is a consideration for the critical image editor COLOR TRANSFORMATION Color transformation or color space conversion is the transformation of the representation of a color from one color space to another This calculation is required whenever data is exchanged inside a color managed chain Transforming profiled color information to different output devices is achieved by referencing the profile data into a standard c
374. s will benefit from working with LUMA curves rather than Luminosity blended RGB Curves or RGB Curves In this example the original image was distant and less welcoming than desired The figures needed more presence and dimensionality The picture s mood and atmosphere also needed to be protected so global contrast changes could not be used Simply lowering the contrast of the background would bring the figures forward but without improving their emotional openness Page 138 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT All the significant pictorial locations were anchored on an Adjustment Curve The red jumper dominates the pictorial space and red also dominates their skin colour Raising the average red luminosity by 12 levels 86 to 98 on the LIJMA curve brightens the jumper as well as their faces and lowers their local skin contrast but without flattening its colour composition It also extends the jumper which now appears larger or more voluminous than it really is This illusion increases the figures three dimensional modelling and presence which also moves the figures forward in the pictorial space towards the viewer engaging them in the figure s renewed presence and open and engaging qualities Though subtle these effects profoundly change the image s physiological construction and psychological influence and therefore renegotiates the viewer s r
375. saw before the camera processed the image and many photographers have started to refer to this file as the digital negative The term digital negative is also used by Adobe for their archival format dng for Raw files PROCESSING RAW DATA In the last chapter we saw that unprocessed Raw data is edited and enhanced in Adobe Camera Raw ACR and the resultant file can be opened in Photoshop or Bridge Variables such as bit depth white balance exposure brightness contrast saturation sharpness noise reduction and even the crop can all be assigned as part of this process There are also tools for performing localized corrections Think dodge and burn but with the power to paint on changes of saturation contrast exposure clarity and sharpness in portions of the photo In the version of Adobe Page 473 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Camera Raw that ships with Photoshop CS5 the raw processing engine has been rewritten to provide better sharpness and noise control There is also a sophisticated lens correction system available in the ACR 6 1 update and creative options for adding stylized grain and improved handling of post crop vignetting especially for images where highlights appear in the vignette area When these improvements are added to the existing spread of tools in the utility you can see why more and more key editing activities shou
376. se title contained the word Photoshop were Year lt 1994 1995 1996 1997 1998 1999 Titles 5 21 20 19 41 52 40 Year 2000 2001 2002 2003 2004 2005 2006 Titles 60 104 135 118 193 240 168 3 For example up to Photoshop v 6 the maximum brush size was limited to a diameter of999 pixels Page 71 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT which on a 100MB file represented only 0 79 of the total image area Photos hop 7 increased the maximum brush diameter to 2500 pixels which represents 5 of the 100MB file or a 5MB brush and from Photoshop CS 8 increased the maximum file size from 30 000 x 30 000 pixels to 300 000 x 300 000 pixels through the introduction of the PSB large document format 4 Live Picture was commercially corralled in 2000 when Macintosh moved os OSX All versions of the program continued to work in Classic mode under OSX However this is no longer possible with the release of Intel processor based Macintosh computers that don t support the Classic OS Graphics performance is very poor in emulators like Sheep Shaver rendering it impossible to professionally operate a working copy of Live Picture on contemporary computers Page 72 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT THE CRAFT OF PHOTOGRAPHY At fi
377. section of a vast range of radio waves At one end of the entire range are long wave radio waves VHF radio television Radar microwaves and infrared Then comes the visible spectrum followed by ultra violet light X rays Gamma rays and cosmic rays To a certain extent human vision can be described and measured Thus we can say that most people with healthy vision can see the same visible spectrum The visible spectrum can be described both by name and by number Numerically the visible spectrum starts at 380 nm nanometers and ends at 780 nm So when we humans register a wavelength of about 450 nm we say we see blue When we register a wavelength of about 700 nm we say that we see red Page 447 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT We also say that the sky is blue that the setting sun is red and that grass is green and we can all agree at a superficial level However when it comes to evaluating and comparing images we can be remarkably accurate as well as easily fooled Therefore we need an objective method to measure and define color values upon which we can all agree Color management is the method and profiles are the key USING PROFILES IN COLOR MANAGEMENT A profile is an accurate description of how a device reproduces color A device can be a camera a screen or a printing process The profile is analyzed by a computer which then au
378. selected the last reading is updated This is available after the device has successfully connected ABA Select the value of deltaE to display for when comparing measured colours with those in a loaded set This is used in conjunction with the Show All Swatches option Show All Swatches Select this to view all swatches By de selecting this only those swatches below or equal to the deltaE value entered will be displayed Colours within the defined tolerance values will show in blue MEASURED LOADED SET PANELS The Measure and Loaded Set panels show the following information Page 373 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT e Colour A swatch visually representing the colour e Name The name of the colour This can be edited by clicking in the name field e Space The colourspace of the colour Lab or CMYK e Mode The paint mode ofthe colour e Tint The tint value of the colour e DotGain The dotgain curve assigned to the colour if any In addition the Loaded Set panel displays the following e Ae CI94 CMC 1 1 CMC 2 1 Delta L Delta a Delta b These columns list the relative delta s of the loaded set colours when compared to the selected measured colour EXPORT MENU The Export menu allows for the measured values to be exported to a space or tab delimited file Save all or only selected entries and select the format for export e La
379. selected Pagesetup and F F VDP Foes f e qut Sa save it This will make the Pagesetup available to the Windows system to which it will be published Wiems fi thee Aij Prine wina 2 Select Settings gt Printers from the Windows Control Panel and run the Add Printer wizard Page 423 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT 3 Make sure Local Printer is selected and click Next 4 Choose Create a New Port and select Local Port from the pull down list Click Next to continue 5 Enter the port to add Enter in the following format pipe lt Pagesetup Name The Pagesetup Name needs to be the full name of the Pagesetup 6 Click OK to accept the name and close the window The Server must be running and the Pagesetup published so the Page 424 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT printer can find and verify the port exists IM X If not the following error right will appear This error will also appear if the name is typed incorrectly 7 Next choose a driver If the Serendipity Megarip driver is not installed on the system select the Have Disk option and browse to locate the PPD This can be found on the DVD or it can be downloaded from the Server see Application Menu Items Download PPD for more information 8
380. sent and has to be accounted for in the final print In this way even our accidents are collected and archived alongside our memories hopes dreams and desires by the analogue process Pixel editing programs however don t work in this way Their memory is one of loss rather than accumulation or conservation They alter image values through the wholesale destruction of those values Even basic image adjustments can result in a loss of image data This simple curve adjustment reduces the image s bit depth by 61 levels or 24 In order to gain something we have to sacrifice a previous advantage or association and therefore each subsequent move we make in the digital darkroom results in a further loss a constantly decreasing return on our initial investment These programs archive their own destruction An over manipulated image reveals the scars of pixel editing as discernable banding or posterization in the Page 66 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT image That very few people appear to understand let alone observe this phenomenon is even more mystifying and difficult to explain Les Walking An Unspeakable Betrayal 1998 Digital Print 110cm x 885cm have even heard pixel editing referred to as Photocide as in genocide because of this destructive approach creation philosophy to image editing therefore have no
381. setup This will automatically select the Output created above The name Untitled should be highlighted If not select it type a new name and press Enter Page 194 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Initially the most important parts to configure are the Output and Media linked to the Pagesetup e Assign the Output to the Pagesetup using the Change Output button e Assign the Media to the Pagesetup using the Change Media button This is the default Media for the Pagesetup Jobs will be printed using this Media unless another is chosen when the job is submitted e Apply any Colour Correction Curves if required e Go to the ICC Profiles section Select files for RGB ICC amp Press ICC profiles respectively e Configure the other panels of the Pagesetup to suit your requirements e Choose File gt Save MONITOR CONFIGURATION Once base configuration is complete the Monitor needs to be configured so jobs can be managed throughout the system e From Menu select Window gt Monitor if the Monitor is not running select Application gt Monitor Make sure the Queues tab is selected in the Monitor window top of screen The basic factory setup has a QueueManager QueueStatus Thumbnails and Logs that are set to look at default queues These are configured across two tabs The QueueManager top half needs to be configured to look at the Spool
382. shed standard often requires that the Page 352 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT screen be set to a particular brightness This function uses a Spectrophotometer to measure the current Brightness in cd m2 and Colour Temperature in K of the monitor Measurements are displayed in the bottom left of the screen Hit Esc to exit the function The brightness settings can be adjusted using the monitor s own hardware or software controls until the correct level is achieved Note This function does not have any control over monitor brightness itis a measurement tool Measure Ambient Uses a Spectrophotometer equipped with a filter to measure the Ambient light in the proofing environment The ambient light level in cd m2 is displayed in the bottom left of the screen Ambient light levels can be important when meeting proofing environment standards Hit Esc to exit the function Create Profile Calibrates and profiles the monitor using an online device The device must be selected from the dropdown menu be connected and turned on Follow the onscreen instructions press Enter to start When the profile is complete save it It is recommended profiles be saved in the default ICC Monitor directory Save Profile Saves the current measured profile This will save the last profile measured created by the MonitorCalibrator This data is lost if the application i
383. sions and blends all four compositions into a coherent pictorial and conceptual statement It orchestrates dimensionality refines depth of field and renegotiates the emotional content that embeds images in our personal psyche and binds them to our cultural subconscious Page 60 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT The division of the image editing workllow into separate compositions privileges figure ground relationships from broad structural concerns to finely detailed local renderings This promotes an episodic accumulation of ideas feelings and designs as we grow increasingly familiar with and understanding of the image s requirements born out of personal necessity historical relativity and our social milieu Page 61 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT CONCLUSION Digital Version Analogue Version Page 62 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Live Picture satisfies my fundamental image editing workliow requirement of independently and non destructively editing all image parameters Its additive separation of pictorial elements onto individual layers perfectly parallels my Masked Type C analogue printing system while its one step at a time divide and conquer methodology will facilitate an artist s progressive transi
384. sk the simple but far reaching questions What matters What is the material of thought To ask these questions is to embark on an intellectual adventure peculiar to the making process Carter 2004 p xi 7 Since the Commission Internationale de UEclai rage CIE established the basis for modern Adjustment LUMA Curve Page 172 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT 10 colorimetzy researchers have been developing theories and testing them experimentally in the hope of finding a unified model to explain how people see colours Understanding colour appearance phenomena and developing models to predict them have been the topics of a great deal of research particularly in the last 15 to 20 years The application of such models opens up a world of possibilities for the accurate specification control and reproduction of colour Fairchild 2005 Preface The alternative colour space to CIELAB recommended by the CIE in 1976 CIELUV incorporates a different form of chromatic adaption transform than CIELAB that is even farther from psychological reality than the wrong von Kries transform of CIELAIB This subtractive shift can result in predicted corresponding colors being shifted right out of the gamut of realizable colours Fairchild 2005 p 194 See Paolo Cherchi Usai s essay The Color of Nitrate Same Factual Observations on Tinting and
385. software like Live Picture promoted a radical alternative that married the broader framework of fine art photography to the wonderful utilitarian attitude of digital processes developing accentuating and benefiting from that association Live Picture completely rethought the software approach to digital imaging It remembered and accumulated advantages while remaining a speculative enterprise Its remarkable efficiency file size and resolution independence infinite selective undos processing and layer logic and superior image quality made it an exception to the rule The critical distinction is that Live Picture achieved this by facilitating building upon and democratically re distributing the advantages of analogue photography It thereby entirely avoided the restrictions cumulative errors artifacts and resulting loss of image quality normally incurred in step by step pixel editing Nothing is lost and everything is gained as a result of its generous creative thoughtful cooperative and collaborative process Three important procedural advances have arisen out of this utilitarian software model artists can now create with electronic precision and repeatability compared to the mechanical though pin registered precision of the specialist analogue studio many more artists now have access to this precision and the resulting creative choices compared with the few rare print makers who could make these moves in the dark and the inc
386. splays the last 4 hours of messages Choose the time from the pull down list e Trim older lines Trims the log based on the time selected in Fetch back log If this is set to 60 minutes the log file is trimmed back so only the last 60 minutes remain e Export Export the log to a file Note When exporting the log file choose to export everything in view or select entries to export Use the filtering options and Fetch back log choice to limit the view before exporting Selecting export displays a chooser to enter a name and select the location to save the file The file can be saved as html or asa tab delimited text file FILTERING OPTIONS Select which messages to display in the log and which to hide by Page 289 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT ticking checkboxes for one or more of the following filters All messages are saved to the log even if filtered e Question Used for messages that ask questions for e g Job contains unassigned colours Do you want to add them to VirtualPress e Information Used for messages that tell you something for e g Job has a duplicate plate e Warning Used where the message has a higher importance and usually the Client failed to do something but operation can continue for e g Failed to save new password Old password will continue to be used e Critical Used for serious errors that will
387. ssing There are even mathematical algorithms such as those from DxO Labs that emulate the physics of an ideal lens However despite these expansive and rapidly evolving electronic advances and advantages there is still resistance among many artists to this digital revolution It isn t just the steep learning curve or the economics or disposable economy of electronic imaging that leaves them wanting It isn t a nostalgic longing for chemical processes or digital is not just another tool attitudes Something is being mourned that has to do with the physical object and its associated labour This devolution of labour from demanding processes measured by darkroom timers and the flow of solutions to insulated electronic Page 74 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT processes that are immediate self sustaining and in the right hands quite liberating poses for many artists a profound contradiction If an artist s thinking and creativity is in part grounded in their repetitive tasks and processes that can now be automated by Photoshop Actions and if their artistic innovation is in part the result of taming disparate applications and procedures that can now be facilitated by Java scripts their crisis is easier to appreciate At the heart of this dilemma is a tradition that holistically binds the comprehensive physical craft of photography to all technica
388. sure the remote printer is shared and the name is correct Page 442 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT GLOSSARY Client GUI that monitors jobs and allows configuration of the Server Clustering The use of multiple machines on a network for distributed processing CMM Colour Management Module CRT Cathode Ray Tube Describes the type of monitor CTP Computer to Plate CUPS Common UNIX Printing System Data Types Database groups such as Pagesetups or RIPs etc DPI Dots Per Inch resolution EPS Encapsulated Postscript File FTP File Transfer Protocol Method for copying files between computers across networks GUI Graphical User Interface ICC International Color Consortium ICC Profile A colour lookup table used for converting colour of a job from one device to another LAN Local Area Network LCD Liquid Crystal Display LPI Lines Per Inch Screen Ruling Page 443 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Master A Master Server controlling Slave nodes in a Clustering environment QueueManager Client module that displays job queues and jobs in those queues QueueStatus Monitors the progress of a job through the system Real Density Colour content of a patch as measured RIP Raster Image Processor Server Software module that handles the p
389. t colors or change how saturated they are Willmore 2003 p 218 Luminosity blending applies the brightness information of the active layer to the color in the underlying image It Can t shift colors or change how saturated those colors are AU it can do is change how bright they are Willmore 2003 p 577 But a 55 increase in saturation is a significant change that doesn t accord with the literature Blending on Luminosity results in one value being changed as we desire brightness and one value saturation being changed against our wishes Luminosity blending is effecting the image beyond all predictions A broad range of subjects and RGB images were treated in the same way and in all cases blending on Luminosity preserved the hue but variably altered saturation relative to brightness For example ut 3 E oo utm ct Grass 32 H 3796S 82 B Sky 212 H 36 S 94 B Grass 259H 75 S 52 B Sky 215 H 58 S 88 B Page 100 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT The sky and grass in the lower left corner were burnt in via a layer masked RGB Curve Adjustment Layer Blending on Luminosity preserved the original hue but Grass 329H 67 S 46 B Sky 212 H 44 S 76 B saturation still shifted The relative increase in saturation in the sky 44 36 36 22 is also significantly less than the grass 67 37 37 810 4 but the result is still not pictorial
390. t distance of the frame from the left guideline Offset is measured from the top left corner of the frame Page 390 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Top Offset distance of the frame from the top guideline Offset is measured from the top left corner of the frame Width Width of the frame Height Height of the frame Lock button Locks the current proportions of the frame if resized along one dimension The locked proportions are overridden by free resizing the frame from within the nesting area Frames can be unlocked and resized to any dimension if required Cropmarks Enable to add cropmarks to the selected frame The cropmarks will only appear when viewing the rendered preview in SoftProof Important Note The job position on the media will change if cropmarks are enabled when viewed in SoftProof to allow for the cropmark placement around the job CONTENT Left Offset distance of the asset image from the left edge of the frame Top Offset distance of the asset image from the top edge ofthe frame Width Width ofthe asset within the frame Height Height of the asset within the frame Lock button Locks the current proportions of the asset if resized along one dimension Scaling The method of scaling used for any asset placed within the frame To Fit The entire asset image is rescaled and shown within the frame proportions To Fill T
391. t the same time as printing a hardcopy PAGESETUPS This displays all Pagesetups configured in the system The sort columns show the Output Input Screening and Media used by each Pagesetup Tickboxes are available to select which Pagesetup will be included in the Pool A context menu for each Pagesetup in the list allows the user to edit any or all selections ofthe highlighted Pagesetup its assigned Output or Media Page 264 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT PAPEPROFILE Configuring a Paper Profile is a fundamental part of calibrating a printer for optimum colour output Theprofile is assigned to a Media and matches paper and ink characteristics to the output driver resolution colourspace and custom settings of the Media The user interface for Paper Profile comprises of a toolbar containing options and functions to assist in creating the profile and a tabbed panel where the printer s dot sizes Density Patches Ink Limits and if appropriate ink Separation Control are configured TOOLBAR OPTIONS e Measure Patches Use this to measure a printed density chart using a supported instrument After selecting choose an online device and desired density standard from the dropdown menus Consult the instrument manual for supported types When the device Page 265 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MA
392. tant to note that these controls work in addition to the profile based O9 Z5 M z else os Lens Corrections rw 4 Enable Lens Profile Corrections Setup Custom Lens Profile Make Sony Model Sony DT 18 200mm f 3 5 6 3 Profile DSLR A700 Sony DT 18 200 Correction Amount Distortion Vignetting o4e 25h O20 Lens Corrections pl a Transform j Distortion 3 Vertical jy Horizontal 0 n d Rotate 0 ey ee Scale j ey Chromatic Aberration Fix Red Cyan Fringe Fix Blue Yellow Fringe Defringe Highlight Edges Lens Vignetting Page 477 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT corrections and so can be used to fine tune those enhancements Transform The Distortion slider controls barrel and pincushion adjustments and the Vertical option is used to reduce the appearance of converging verticals which are often present in images taken with wide angle lenses when the camera is tilted upwards The Horizontal slider pivots the image towards or away from the viewer correcting horizontal perspective issues and Rotate is used to straighten a titled photo The final slider Scale can be used to adjust the magnification of the picture after the corrections have been made Chromatic Aberration Two sliders are available to help with Chromatic Aberration or the situation where edges recorded towards the outer par
393. te When editing any of the items from here the queue for all future jobs not just the currently selected job is being edited QUEUESTATUS The QueueStatus module is a progress meter that shows the current status of active jobs on the selected queue The look and feel can be adjusted for the QueueStatus module and the queue it is monitoring The options are available by right clicking on Page 304 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT the window Note Not all options listed are available on all QueueStatus windows Some are only available while the job is in progress e Cancel Job Cancels the currently active job and is only available when a job is active e Job Info Displays info about the currently active job e Pause Printing Processing Pauses the queue so no further jobs will process Any job currently active in the queue will finish The text in the window changes to red showing it to be in a paused state e Resume Printing Processing Takes a queue out of a paused state so any waiting jobs can be processed e Change Queue Choose which queue the status window will show e Edit Output Edit the output or create a new one You can only edit if the queue is showing an output If the queue is set to Spooling Auto Detect Imaging or Rendering you can only make a new output e Thumbnail Turns on off a mini thumbnail on the printer queues only w
394. temporary directories and DropFolders Editing the ss conf file in the installation directory under the etc folder can change disk locations The available options are e Update Checks the disks and updates the view e Preferences Sets the Status window preferences A furtheroption available is e Update Interval Sets the time between updates e Colour Scheme Changes the colour of the Status window e Font options Change the size of the text THUMBNAIL This module displays a thumbnail of jobs as they are imaging and rendering Thumbnail progress is updated at the same time as the Imaging or Rendering QueueStatus is updated The following options are available from the contextual menu right click e Show Imaging Show the Imaging thumbnail denoted by gears in each inset Page 308 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT e Show Rendering Show the Rendering thumbnail denoted by a paintbrush in each inset e Normal Thumbnail Displays a small thumbnail e Large Thumbnail Displays a large thumbnail Each active Thumbnail module may only show either Imaging or Rendering not both The module window displays as many Thumbnail insets as there are simultaneous Imaging Rendering tasks configured in the Server Settings Page 309 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT
395. tes a job into single plates and prints them as black This is designed to print with a halftone dot onto a clear film media To increase the density of the output choose a combination of inks This option can be used to produce films for use in the Screen Printing industry e Enable Screen Print Mode Turns the Screen Print mode on or off Wren Eee ng Itc IT Bak Light Buck Ligh Lage lari e Ink Combination Select the inks to be combined for a single separation output In Screen Printing mode all jobs are separated and there must be a Paper Profile where only one dot for each colour is turned on OUTPUT SCREENING Apply screening to the output file if desired This is only available if the output driver selected supports screening There are two 2 methods available FM Screening or Halftone FM SCREENING VARIATIONS e Stochastic Standard Stochastic Screening e Stochastic 2 and 3 Stochastic Screening with progressively increasing amounts of Page 232 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT noise mixed in This is done to overcome some artifacts caused by Inkjet printers e Stochastic Fast A fast version of the eese Stochastic Screening mode Slightly lower quality than Stochastic e Error Diffusion Error Diffusion Screening May enhance edges within images e Ordered Dither Ordered Dithering Screening Applies a thresh
396. tes and separation of others from a single job submission For example merge the CMYK plates together and print the 3 specials as separate jobs or create progressive FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT proofs with C CM CMY CMYK CMYKS1 etc INPUT SCREENING Enable ColourKeys Select this to turn the module on Plates Shows a list of available plates Add Adds the selected plates to the Plate Combinations list Progressive Used to make progressive proofs After adding the first plate to be used in the proof click the Progressive button one or more times to cumulatively add plates to the Plate Combinations list The progression will start with the first plate on the Plates list by default if a first plate is not selected Deselect Deselects any plates currently selected in the Plates list Remove Removes the selected Plate Combination from the list Remove All Clears the Plate Combination List Input Screening determines how the screening on the input data is handled There are two 2 choices Preserve and Descreen Preserve Preserves the dots from the incoming data so the same dots on the final job are shown on the proof Further choices are Real Dot Technology Used to preserve the FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT dot structure e Fast 2 Similar to RDT but a faster method
397. the Broadcast option displays a message window to type into and send The message is displayed on the users window for a short time and will automatically dismiss if it is not acknowledged by clicking OK DOWNLOAD PPD This option downloads the Megarip PPD from the Server to the desired location A chooser will appear to navigate to the location for saving the PPD file on the drive This saves having to get the PPD off the disk Use the PPD when installing a local printer When installed the Megarip PPD Postscript Printer Description is selected as the printer driver when setting up a Megarip Published Pagesetup as a print destination for third party applications see Workbench Pagesetup and the Publish to a Windows Printer sections for more information ACCOUNTS ADMIN SECURE MODE Megarip gives users the option to login using Secure Mode which allows the administrator to create accounts for users and Page 399 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT groups with each group configured to allow or deny its users access to particular applications and functions When Secure Mode is active users are required to enter a username and password whenever the Client is started or users are changed The username and password are both case sensitive The Accounts Admin menu option is selected in order to display the panels for configuring any Users and Groups and these sho
398. the same The edited red CHROMA curve maintains the shape of her face and her look or expression by only adjusting the saturation and brightness of her tips The colour of her face was not altered The LAB a curve required an adjustment of 10 levels 45 to 55 while the red chroma curve was adjusted 20 levels 185 to 205 for the same brightness and saturation increase This effectively doubles the precision with which the CHROMA curve can be adjusted due to the smaller SRGB colour space of the image L B is a very large colour space therefore significantly less bit depth is devoted to a small gamut image such as this studio portrait With xces sive curve adjustments the greater precision of the sRGB colour space where more levels of tone are describing the same transitions should be expected to produce smoother skin tones with less visible posterisation though when printed these differences can be negated by the print rasterising process The Studio portrait was also mapped into sRGB and LAB colour space producing the following gamut volumes 3D Gamut Projection LAB sRGB amp Portrait 2D Gamut Projection LAB SRGB amp Portrait Page 155 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT When separating the LUMA and CHROMA the image remains in its assigned RGB colour space and all of Photoshop s tools and commands work as per usual practice Any Adjustment Layer placed abo
399. the small tools palette top left hand corner of the dialog box and then click on any neutral tone you can find in the image For more details on using these features with your image revisit the White Balance section in the previous chapter White Balance Daylight Temperature Tint Page 484 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Note gt Although it is a White Balance you actually need to click on a tone that is not too bright Clicking on a light or mid gray is preferable A photographer looking to save time may introduce a gray card in the first frame of a shoot to simplify the task 9 46a 7 air cs Camera Calibration ma Process 2010 Current X ADVANCED WB FINE TUNING If precise white balance is extremely critical the photographer can shoot a xRite ColorChecker Chart that uses a range of color and gray patches The user can then target the Red Green and Blue patches and fine tune the white balance using the Camera Calibration controls in ACR The settings grouped here enabled photographers to alter the way the colors captured by their cameras and recorded in the raw file are interpreted by the software Essentially this is a process that edits the default profile that Adobe had developed for the camera These Adobe based camera profiles are not strictly ICC profiles but they are the core tec
400. though no longer a term used in colour science was initially equated with brightness But the term was discontinued because to many people the brightness of a colour denotes its colourfulness rather than its luminous intensity per unit projected area which is now therefore called luminance Hunt 1967 p 73 However this does not explain or define what Photoshop Luminosity is nor how it functions While Wilmore is correct in equating Luminosity with Brightness he is also incorrect in simply transferring that definition to explain the operation of Photoshop s Luminosity l3lending Mode Brightness in the HSB colour model Photoshop HSB readouts is an expression of the amount of light in the brightest channel relative to the maximum brightness 255 possible levels For example two different colours 193R OG OB and 193R 192G 192B exhibit the same brightness 193 255 100 1 73 Saturation on the other hand is a subjective expression of colour purity When the relative colourfulness is judsed in proportion to the brightness of the object itself it is termed saturation Hunt 2004 p 69 In other words saturation refers to the extent that the object s colour purity is diluted with black grey or white The brightest channel is judged relative to the least brightest channel which equates to the neutral density in the colour For example the colour 158R 90G 193B has 90 levels of brightness neutral density common to all ROB
401. tic was grounded in formal qualities and expresaive techniques and underscored by the Western philosophical concern for the relevance of the beautiful Adaros 1981 The earliest definition of a fine print coincides with the introduction of the Kodak camera in 1888 and resulting emergence of the snapshooter This infuriated photographic enthusiasts who welcomed the complicated fine printing processes of the time Thus because of its form it was immediately possible to distinguish an artistic photograph from a simple snapshot Doty 1960 The concept of a fine print underwrote Pictorialism s early quest to establish photography as a fine art The materials used for the fine prints which the photographers themselves prepared made exact duplication very diflicult so that each print made from the same negative was in fact to a certain extent an original This was welcomed by pictorial photographers for it meant that one of the characteristics of painting could also be achieved in photography Tausk 1980 p 20 21 The authorship of the fine print its production and reception were criteria based as much on practical considerations as philosophical debates This concern with print quality is often seen as excessively formal privileging matters of technique at the expense of content meaning and context However different contexts require differing levels of attention to print quality While a mediocre print may be adequ
402. ting Incomplete jobs in paused queues will display in red e Change Output Media Change the Media assigned to the output queue for the selected job Once re assigned all jobs held awaiting the new Media will begin processing CONFIGURATION OPTIONS The following options are available from the right click contextual menu within the QueueManager window Page 303 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Queue Colour Select a colour for the currently selected Queue for easy identification Queue Order Organise the queues into the preferred order or adjust any settings Joblist View View the queue in Joblist mode This is the same as selecting Show Jobs Publication View View any publications in the queue This is the same as selecting Show Publications PrintGallery View View the jobs as thumbnails This is the same as selecting Show Thumbnails Edit Output Edit the Output and not the job For changes to be effective resubmit the job for printing or rendering depending on the attribute changed Edit Media Edit the Media the job was processed with For changes to be effective resubmit the job for imaging or rendering depending on the attribute changed Edit Pagesetup Edit the Pagesetup the job was processed with For changes to be effective resubmit the job for imaging or rendering depending on the attribute changed Important No
403. tings configured here are those directly related to the Output device Colour Correction ICC Profiles Screen Printing and Output Screening A Media can be one of several assigned to a Pagesetup which controls the input screening resampling rendering effects and intents of incoming jobs All jobs are submitted to a combination of Pagesetup and Media destinations When submitting the user selects the Pagesetup to be used at which point a list of compatible user created output Media types in the database become available for selection A default Media is assigned to a Pagesetup so if a job is submitted without a specific chosen Media the job will output to the default Media settings An Output data type can optionally have a Media type assigned to it in which case only jobs submitted to the Output using the assigned Media will be printed All other jobs are held in the QueueManager until the assigned Media is removed from the Output or the held jobs Media type is assigned to the Output Important Note Version 4 Pagesetups when opened in version 5 are automatically split into Pagesetup and Media types Version 5 archives cannot be exported back into version 4 Page 226 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT OUTPUT e Output Driver Select the desired output driver from the available list Those available will depend upon the options enabled on the
404. tion from analogue to digital processes Page 63 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT THE DESENSITISATION OF PHOTOGRAPHY Who hasn t watched in growing frustration as a Photoshop progress bar slowly scrolls across the screen obscuring their image from view instantly blocking participation in the very process they had just initiated Maybe such an experience is behind the violent outburst 1 witnessed that went something like this Pixel editing programs like Photoshop suck am sick to death of them I m sick of the thinking and the attitudes behind such software May pixel editing programs die the death they deserve From the very first Photoshop publication the speed issue has been debated excused and justified by other advantages that more than make up for the trade off of absolute response speed Biedny 1991 p 4 What has happened to Photography p4 The past decade of digital imaging guaranteed photography s eventual shift from a medium specific discipline to an interdisciplinary concern Digital processes being inherently distributive and democratic and to date relatively unencumbered by the traditions of discourse or apprenticeship remain the new frontier The ubiquity of digital imaging repositions photography onto a trans disciplinary plateau an advantageous position that photography has probably never before occupied From the one software package
405. tments are made the curve preview on the graph will change showing the effects of the value entered Further information on the Yule Nielsen Number can be found below Maximum Densities Override Enter a value to limit the top end density for each of the process colours The default is 0 no override As adjustments are made the curve preview on the graph will change showing the effects of the value entered Further information on Maximum Densities Override can be found below Page 345 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT DENSITOMETER SPECTROPHOTOMETER CURVE Device Select the appropriate instrument from the pull down list of devices Note The Embedded Printer Spectro option is only available when in Lab measurement mode Use Lab enabled Instrument Standards Choose from the list which instrument standard is to be used for measurement This will only appear when Use Lab is not enabled Measure Connects to the selected instrument and prepares to read patches The patch window changes to a measuring window and the instrument list changes to a text field where instructions are displayed Print Chart Print the appropriate chart for the selected instrument to the Media selected An options window with the following will appear Cancel Printing Cancels the action and returns to the previous window Don t Apply Print to Linearise This will disable
406. to be published Select Serendipity Megarip as the driver If the driver is not already installed choose Have Disk and get the driver megarip inf from the Serendipity Installation DVD found inthe drivers win OS Version directory Flow Control Select whether to hold the submitted file after Imaging or Rendering in order to prioritise jobs or make rendering attribute changes before releasing ASSET QUEUE AS A PUBLISHED PAGESETUP The Asset Queue automatically publishes itself on the network in multiple ways Drop Folder Files placed in the Asset Drop Folder are automatically placed in the Asset Queue The drop folder location is Serendipity Megarip drop asset drop Page 248 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT ICC PROFILES Printer The Asset Queue is published as a Bonjour Zeroconf network destination address asset drop computer name Jobs printed to this Bonjour destination see above are placed in the Asset Queue TCP Port The Asset Queue publishes itself to TCP port number 9104 Jobs printed to this TCP port see above are placed in the Asset Queue Always Use ICC Enable this to always use the assigned ICC profiles for jobs submitted to the Pagesetup and Media If this is not enabled the ICC profiles selected are only used in colourspace conversion Honour Embedded ICC Profiles Enable this to use an ICC profile embedded in a submitte
407. to make imperial purple Imperial purple disappeared in 1453 9 Browns Renaissance O Modest and religious dress 19 O Beige was the color of poverty 20 Oo In England dull browns were worn by lower classes 15 Browns Medieval nothing currently noted e Grays Renaissance O Modest and religious dress 17 O The color of poverty 20 O Female slaves in 1400s Florence were constrained to wear course woolens and no bright colors 21 o In England servants or members of a City company were to wear bright blue or gray Grays for the lower classes 15 e Grays Medieval O Color of peasant clothing eighth century by order of Charlemagne 21 e Blacks Renaissance O Seriousness 22 o Mourning 6 O Oolor of clothing for nobility and wealthy representing refinement and distinction 23 o Worn by Philip the Good Duke of Burgandy after 1419 as a symbol to the French that he did not forget the death of his father His black is at once dangerous retributive 24 o Worn by king s ministers as a sign of their selves being submitted to the will of the king Also symbolizes defeat humiliation and humility 26 O Inthe 1400s black began to suggest smartness importance sophistication great dignity and state Also sad melancholy a humble color worn by mourners and monks An expensive color to produce indicating social distinction and thus not worn by the lower classes 26 O Inthe 1400s merchan
408. tomatically compensates for any variations in the way a series of devices reproduce color In this way the color of the original subject can be accurately reproduced and measurably consistent from shooting to the finished result A typical setup in a photographer s studio may comprise of a Phase One camera a high end computer and monitor as well as photographic quality printer Every shot that is taken goes from the Phase One camera through the computer and is shown on the monitor The computer reads the profiles of each device compensates for the way each device reproduces color and displays the finished result on the screen It is then the job of the photographer to decide if any further adjustment is needed Computers equipped with device profiles show only how a device reproduces color They do not tell the photographer what to do if the device or process cannot reproduce the color accurately Often it will be the printing process that sets the greatest limitation to color reproduction although each step in the process adds its own layer of imitations Page 448 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT COLOR SPACES COLOR IN 3D People describe colors in a variety of ways and most descriptions are entirely subjective To avoid human error several systems have been developed to give color a value and to define relationships between colors It is beyond the scope of
409. torialists rather than addressing his contribution to a general history of fine art photography or the fine print tradition 3 Beaumont Newhall 1908 93 first published The History of Photography From 1839 to the Present in 1949 Newhall 1982 It is quoted at least one hundred and sixty five times in at Page 31 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT least ninety two publications including eight references in Liz Wells Photography A Critical Introduction Wells 2000 8eaumont Newhall was the first curator of photography at the Museum of Modern Art in New York from 1940 and was the Curator of the International Museum of Photography of the George Eastman House Rochester New York from 1948 and its director from 1958 to 1971 He was also a influential teacher of photo historians as professor of art at the State University of New York in Buffalo from 1968 and at the University of New Mexico in Albuquerque from 1971 4 Nicolaides posthumously published treatise on drawing has been continuously in print since 1941 Page 32 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT LIVE DIGITAL PICTURES In the same year that the Kodak Dye Transfer process was discontinued a revolutionary digital imaging program called Live Picture was first announced at the Seybold Seminars in Boston April 1993 where it w
410. toshop CS2 for the Web Berkeley CA Peachpit Press pp 13 ISBN 0 321 39394 5 http books google com id 11HOf NCAPHCC amp pg PT17 amp dq web b rowsers ignore 22icc profiles 22 Retrieved 2008 05 08 Many designers choose not to include ICC Profiles with Web files because most Web browsers can t read them and they increase the size of a file Color Management add on by Sean Hayes The value gfx color management enabled can be set to true in the about config file of Firefox since version 3 Firefox 3 Color profile support oh the pretty pretty colors Deb Richardson Mozilla Corporation ba Page 18 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT NEW TECHNIQUES IN THE PRODUCTION OF COLOUR IMAGES IN THE FIELD OF FINE ART PHOTOGRAPHY This section is taken for Les Walkling s thesis submission for his Doctor of Philosophy in 2007 ABSTRACT The investigation innovation and development of new colour printing techniques tools strategies and procedures in the field offine art photography to surpass the flexibility and controls previously available only in the now discontinued Dye Transfer col our printing process The project integrates the genealogy technology and methodology of analogue and digital imaging systems reformulating their design implementation and application in production workflows Th
411. truly master or become comfortable with Curves just as some people never drive cars with manual transmissions This chapter might seem long winded but the truth is that until you truly get Curves you will be a prisoner of Photoshop s less powerful tools Because the Curves dialog box allows you to adjust eveniy shade of gray in an image independently of the others 256 in all it works quite a bit differently from the other adjustment tools in the Curve graph you can move points on the line dragging a point up or down so that a shade changes to become much darker or lighter just remember that up means more of something My hope is that after you ve read this chapter you ll have come to the conclusion that the Curves feature really isn t such a brain twister Once you get comfortable with Curves you ll be able to do so much more than you can do with any other dialog box The initial learning curve might he somewhat daunting but the fringe benefits are dynamite Wilimore 2004 p 206 241 Willmore is not alone nor unique merely excessive in his praise for Photoshop s Curves command In all of the Photoshop literature surveyed these mantras are repeated over and over again and with little variation Curves are placed at the centre of Photoshop s universe and we are shamed into following the intonings and assertions as to Curves professionalism and superiority merely single Wi
412. ts of the frame contain slight misalignment of colors This is caused by a lens not focusing all the visible wavelengths together on a sensor The sliders are designed to realign the problem areas and in so doing remove the colored edges Fringing Also included is the ability to lessen the sensor flooding caused by overexposure in picture areas such as specular highlights The Defringe drop down menu contains three options Off Highlight Edges and All Edges Selecting the Highlight Edges option decreases the purple colored areas that often surround brightly lit metallic surfaces or Page 478 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT sparkly water reflections These errant colors are not caused by lens aberrations but rather result from a small selection of sensor sites being overexposed Switching to the All Edges setting applies the effect to all the fringe areas in the image Lens Vignetting Vignetting is the slight darkening or lightening of the corners of a photo due to the inability of the lens to provide even illumination across the whole surface of the sensor This is most prevalent in lower quality ultra wide angle lenses when coupled with cameras with full frame sensors Two sliders are included in the Lens Vienetting section of the Lens Corrections pane to deal with this vey problem When the Amount slider is moved to the right it lightens the corners Draggin
413. ts regularly wear black 27 Page 467 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Traditional color of Venice and attributed to piety and virtue Piety to a Venetian was that which increased the empire 28 O A high fashion color in the mid 1500s 29 O A Venetian senator wore black 13 O In Genoa Italy the Doge and aristocracy wore black 6 o In England lower class women wore primarily black 15 e Blacks Medieval O Black worn by a melancholy lover yearning with love 7 O Color of peasant clothing eighth century by order of Charlemagne Note that the quality of black may not be the same as the black referenced above for the Renaissance period thus less expensive and accessible to peasants 21 O According to Pope Innocent Ill about 1200 black is color of penance and mourning used for Advent and Lent 30 O The color of mourning in Brittany 6 Whites Renaissance Oo O White is purity for women and chastity for men 6 At the universities of Padua and Bologna white was symbolic of the humanities 6 e Whites Medieval O Allover wears white for purity later Middle Ages 7 O According to Pope Innocent III about 1200 white is color of innocence and purity and was used on the feasts of the Virgin 30 O Compassion later Middle Ages 32 o In France white was the color of mourning 33 Painting of Philip the Good Duk
414. tscript jobs do not place a page size in the job information Checking this will use the bounding box as the page size e Simple RGB to CMYK Conversion This is a compatibility mode from older versions of the product Images are converted from RGB to CMYK quickly using a basic method The colour is not very accurate and is not recommended for contract proofs e Fail on RGB Images Causes a job to fail if it contains RGB images If this is not checked the jobs will process but RGB images will be ignored and not printed e Antialiased Subsampling Used to assist in the rendering of some fonts e Disable PDF Autoseparation Turns off autoseparation for PDF files e Render in RGB Allows Postscript file data to be processed in an RGB rendering mode with a wide gamut suitable for digital photographic proofs prints e Use CMYK simulation from PDF for unknown colours Allow the CMYK simulations from PDF files to be substituted for unknown spot colours Note An Unknown Specials colour set can now be assigned in the System Settings This allows unknown special spot colours included in PDF or Postscript jobs to be automatically added to the set RESAMPLING Configure the method for sampling incoming data and changing the resolution from the input to that of the output The options are Page 255 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Nearest Neighbour The fastest m
415. tual menu available right click with the following options e Remove Module Removes the module from the Monitor tab e Set Size For Module Allow the user to enter a width and height in pixels for the selected module viaa resize popup e Duplicate Module Duplicates the selected module The duplicate has all the size layout and configuration options of the original e Use Layout Switches the Monitor to Use Mode Use This is the normal user mode It locks the module sizes and position and allows for the configuration of the module preferences and management of jobs Select this after Editing to use the configured layout MENU OPTIONS LAYOUT e Edit Switches the Monitor to Edit Mode see above explanation e Use Switches the Monitor to Use Mode see above explanation Page 284 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT TABS Dynamic Update Enables or disables updates to the modules while in Edit mode Show Titlebars Shows or hides module titlebars Add Modules See the Monitor Modules section for further information on each module Load Loads a previously saved Monitor configuration Save As Saves the current Monitor configuration Search UI User Interface Activates a search bar for finding buttons and functions in the current Monitor tab Note Module Toolbar functions can only be searched if the toolbar is open
416. ty of R29 our materials is no less wu W wwD M important in digital va Cy ele re fio photography but the lack of pi R Ss segmentation and user S es ovc priority in the digital gt i domain can thwart the O BL Jimu core devlopment of a viable Hon technique My solution is to See eo 3 imagine Photoshop s layer palette as a darkroom sink there are developers luma and chroma layers toners adjustment layers intensifiers and reducers blending modes and the hands on local application of these options layer masks Blending NCA layers greatly simplifies sophisticated image editing by providing discrete options keyboard controls no danger of clipping with Soft Light and Hard Light modes while reducing quantisation errors because procedural blends interpolate tonal values producing smoother results Blatner 2006 p 352 The order of increasing intensity which liken to grades of contrast in the darkroom is Soft Light Hard Light Vivid Light Linear Light and Hard Mix which produces extreme black or white contrast The NCA layer automatically loads a layer mask for the local redistribution of the blending and the curve interface can also be precisely adjusted as required For example Soft Ligit Screens highlights and Multiplies shadows with no effect on middle grey values Adjusting the curve input value that is rendered out as middle grey will pivot the Screen Multiply intensific
417. uble clicking or right clicking and selecting Crop To cancel the crop right click and select Cancel or press the Esc key e Large Navigator Toggle between the default or large sized Navigator window VIEW MENU e Tabs Control the tabbed viewing of images in SoftProof e New Tab Opens a new empty tab ready for a job Use the Open Job option or drag a job from the QueueManager into a new tab to load it e Close Tab Closes the currently selected tab If there is a job loaded it is closed and the next tabis selected e Next Tab Loads the next tab containing an image into the main window e Previous Tab Loads the previous tab containing an image into the main window Page 359 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT e Text Enables text tab guides at the top of the window e Thumbnail Displays the thumbnail viewer on the right of the main window e Get Info Display information about the softproofed job and how it was processed e Show Page Boundary Places a red line around the page area of the job This is viewable when the SoftProof window is large and the image reduced in size e Ink Weights Opens an Ink Weights window displaying information regarding the Source and Print Inks for the selected job e Zoom In Out Zoom in or out ofthe image e Show All Show the whole job in the window e Show Actual Pixels One pixel of the screen is e
418. ue Saturation command blended on Normal will only edit the hue of the image Also as we have already seen blending on Luminosity preserves the hue in the image during brightness and saturation edits Comparing the effect blending modes have on hue saturation and brightness pro vides a better understanding of the problem Blending Edits Doesn t Preserves Mode Edit Hue Hue Saturation Luminosity Saturation Saturation Hue Luminosity Color Hue and Luminosity Saturation Luminosity Brightness Hue and Page 116 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Blending Edits Doesn t Preserves Mode Edit Saturation The problem is that Luminosity is not just brightness but brightness calculated by a Luminosity formula LUMA which differentially weights the three RGB channels An RGB brightness change therefore forces a saturation change because it alters the ratio of neutral density in the colour which equals the darkest channel relative to the brightest channel By definition the LUMA formula co eflicients ensure this will happen Therefore Luminosity in Photoshop is saturation weighted brightness Only if a colour has no saturation R G B or if the same percentage change in brightness is applied to all three channels will the saturation of the colour remain unchanged Editing the white point 255 RGB while anchoring the bla
419. uld be created prior to activating Secure Mode The Log Out option only appears once Secure Mode has been activated Selecting this while using Megarip in Secure Mode simultaneously logs the current user out and generates the Login window with options to login as a new user and select a Server to connect to or Quit the application While the Login window is displayed the Client is effectively locked to all users The Server will continue to operate normally SETTING UP USERS AND USER GROUPS Megarip s Secure Mode is set inactive by default The software will continue to function normally whether or not Secure Mode is activated Important Note It is recommended all users and groups requiring access be setup BEFORE activating Secure Mode Secure Mode cannot be activated until at least one 1 user has been created This would Page 400 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT usually be the Admin account as this is automatically created when the Accounts Admin option is selected for the first time Select Application Menu gt Accounts Admin to display the configuration panels ACTIVATING SECURE MODE Once the initial user account s have been setup Secure Mode can be activated by checking the tickbox located via Application menu gt System Settings gt Server General tab Secure Mode can only be activated or deactivated by an administrator a me
420. ult Match ICC Profile Select a default match ICC profile for accurate display of CMYK data Page 413 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT e CMS Dithering Disabled by default Use CMS Dithering for smoother results whenever conversion between 16 bits to 8 bits is required e Calcheck Managed Enabling this will display the current calibration status of the selected monitor When selected there will be a transparent icon showing a green tick or a red cross This icon is shown in the corner of the monitor and is always on top of other windows The icon can be moved to any corner by clicking and dragging close to the corner Its status depends on the expiration time of the monitor calibration as set below and the Calcheck status e Use Native Profile Enable this to use the operating system defined ICC profile for colour management The Client will use the monitor profile as setup for the operating system i e Mac OS will use what is in the Page 414 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Display Preferences Colour tab Windows will use the Display Adapter Settings e Choose Monitor ICC Profile Select a monitor ICC profile for the display the Client is running on The profiles are used so any colour element viewed on the display is shown as accurately as possible This includes SoftProof and any c
421. ults No special equipment is needed CALIBRATION OF MONITORS IN WINDOWS Turn the monitor on and let it reach normal working temperature this may take 30 min e Open the Display properties dialog box Display is found inside the Windows Control Panel folder e In the Appearance tab set the desktop color to a neutral gray desktop background Click Apply The screen background is now a neutral gray In the Control Panel folder open the Adobe Gamma installed with Adobe Photoshop e Select the Step by Step Wizard option and be sure to select desired gamma Windows Default gamma 2 20 and hardware and adjusted white point 6500 K Daylight If you do not have the Adobe Gamma control panel you will have to make the adjustments manually as explained below please bear in mind that this will not adjust your gamma and unless you have other tools to adjust the gamma you would have to rely on the factory gamma setting of your monitor Page 458 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT ADJUSTING THE BRIGHTNESS AND CONTRAST MANUALLY Turn the monitor on and let it reach normal working temperature this may take 30 min e Set the contrast to 100 Most monitors have control buttons at the front Most TFT monitors do not let you set the contrast so here you will only set the brightness e Drag this document to align the black rectangle below with the bottom
422. uminosity blended Adjustment Layer the Channel Mixer can also be used to dynamically assign altered luminosity to the underlying image For example a portrait might benefit from a luminosity mix containing more of the green and or blue channel to increase modelling and dimensionality in skin tones Another method of extracting an image s luminosity involves Filling a duplicate image layer with 50 grey blended on Color This is an impossible request because there is no colour hue and saturation in 50 grey therefore blending on Color removes the colour hue and saturation isolating or separating the image s luminosity Blending the resulting luminosity layer on Luminosity has no effect on the underlying original image proving that the image s luminosity has been extracted Page 131 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Filling the colour 64R 128G 1928 with 50 grey blended on Color extracts its luminosity of 116 levels This method has the added advantage over the Channel Mixer in monochrome mode because the luminosity is extracted and can be seen and edited as a separate im age Clipping a Curve Adjustment Layer to this luminosity layer eliminates the colour shifting errors that occur with RGB Curves And because the luminosity layer is a neutral RGB image that is each pixel is a neutral RGB triplet R G B anchor points on the clipped RGB Curve w
423. used when using Studio for tiling an image or nest of images that are larger than available print media When active a red document box will appear in the Nest Area defining the total area being used for tiling Page 389 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT ACTIVATING TILING MODE To activate tick the Tiling checkbox in the Document area of the Property panel Any asset or frame placed inside the Document area will be tiled A media length height must be defined when using tiling mode The dimensions entered will appear in the Layout area tiled and overlapped to cover the entire document area After placing and locking an asset making it transparent in the document area users can see how the image will be tiled and overlapped onto each media sheet The following fields are available to define the tiling area and Media dimensions DOCUMENT AREA e Width Total width of the area to be tiled e Height Total height length of the area to be tiled e Tiling Checkbox Activates the Document area and Tiling Mode e Tiling Overlap The image overlap of each tile MEDIA AREA e Width Width of the media used for printing e Height Height length of the media used for printing FRAME e The Frame information panel displays data for the currently selected frame The frame and contained asset can be edited from within this panel Options are e Left Offse
424. using tiling mode If using roll sheet media the length of paper to be used for each tile can be entered into the Length field in the output settings of the Media itself see Workbench Alternatively the tile length can be entered using the Studio interface via the Height field of the Property panel s Media area MENU OPTIONS Studio has the following options available via the main and contextual menus STUDIO MENU e Save New Template Saves the current frame layout to the Template library The untitled nest can be renamed by clicking on the text Untitled Only frames are saved not the images within them e Save Template Saves the current frame layout to the selected nesting template overwriting the existing data Page 379 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Shake bertagi Desa Unite om 4 Choad estem mand Trami AKulo paca x hat Puce Spgering Jim baap To Grid Cred Sia e Remove Template Removes the selected template from the Templates library list e Export Template Export a saved template to a user defined location Multiple templates can be selected and exported to a single file e Import Template Import a saved template The imported template will appear in the Template library list when loaded e Print Print Tiles Opens a chooser window to submit the jobs currently in the Layout area for imaging rendering and nest
425. usting the Brightness and Contrast manually 454 SETTING UP THE SOFTWARE 454 Setting up ColorSync System settings 454 Setting up Photoshop Color Settings 455 Visual Inspection 455 SETTING UP CAPTURE ONE COLOR SETTINGS 456 COLOR MANAGEMENT FOR WINDOWS 457 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Setting up the hardware 457 Calibration of Monitors in Windows 458 Adjusting the Brightness and Contrast manually 459 Setting up Software 459 Setting Up Photoshop 460 Visual Inspection 460 PRINTING Destination profiles 461 Proofing with the studio printer 462 RENAISSANCE CLOTHING THE MEANING OF RENAISSANCE AND MEDIEVAL CLOTHING COLORS WHY COLOR SYMBOLS ARE NOT ALWAYS IN AGREEMENT Sources 470 Document Location D X0User 200 Research Journals 10 Research Journal 10 Colour Management Colour Management V10 0 In Progress docx 461 465 465 469 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT COLOR MANAGEMENT From Wikipedia 19 October 2011 In digital imaging systems color management is the controlled conversion between the color representations of various devices such as image scanners digital cameras monitors TV screens film printers computer printers offset presses and corresponding media The primary goal of color management is to obtain a good match across color devices for example the colors of one frame of a vid
426. ut darkening the midtone values ADVANCED CLIPPING INFORMATION Remember that holding down the Alt Option key when adjusting either the Exposure or Blacks slider will also provide an indication in the image window of the channel or channels where clipping is occurring Excessive color The channel or mix of channels being clipped are saturation for the color iss a change of color ofihe arrow in the clipping warning buttons at the top left and right of space selected as well as the histogram overly dark shadows and overly bright highlights will also influence the amount of clipping that occurs Clipping in a single channel indicated by the red green or blue warning colors in the arrows will not always lead to a loss of detail in the final image However when the secondary colors appear cyan magenta and yellow you will need to take note as loss of information in two channels starts to get a little more serious Loss of information in all three channels indicated by black when adjusting the shadows and white when adjusting the exposure should be avoided Page 489 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Note gt Large adjustments to the Brightness Contrast or Saturation sliders may necessitate further tweaking of the Exposure Recovery Fill Light or Blacks sliders CONTROLLING SATURATION AND VIBRANCE STEP 7
427. values Red 21 976 Green 15 60 c and Blue 7 299 which is reflected in the new colour 78R 148G 206B having different HSB values 207 62 81 64R 128G 1928 HSH 210 67 75 The result is that the colour becomes a different colour not just lighter or darker Curves are always described in terms of their precision and control of input and output values The competent use of Photoshop s Curves tool is an essential skill in color correction as curves provide the most powerful way of precisely remapping tonal values Kieran 2003 p 115 No where in the literature is this questioned Numerous examples are provided to demonstrate this facility Dan Margulis with each new edition of Professional Photoshop increased the index listings for Curves Margulis 1995 p 65 93 1998 1 310 2002 1 402 2007 1 492 Since the 1998 edition he has indicated through its indexing that the entire book is devoted to Curves However he makes only brief references to anchoring or locking down control points on a curve Margulis 1998 p 178 Page 109 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT amp 305 2007 p 220 Bruce Fraser and David Blatner also only make a single brief mention of locking down control points on a curve Blatner 1999 p 280 2004 p 254 2006 p 260 But they all describe adding points to a curve and adjusting them to change the brightness of an ima
428. ve assets assigned to them Unlock All Unlock all currently locked frames Page 382 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Decloak All Decloaks all frames Allows for movement deletion or editing of frames locked cloaked after submission only available in Cloaking mode Select All Selects all frames in the nest area for grouping ungrouping movement locking or deletion Select Inverse Deselects current frames while selecting all previously unselected frames Page 383 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT VIEW MENU Zoom In Zooms in the Layout area view Holding down Z Left click will also zoom in within the Layout area Zoom Out Zooms out the Layout area view Holding down Shift Z Left click will also zoom out within the Layout area Fit All Scales the Layout area view to show all frames currently in the Layout area Fit Document Scales the Layout area view to show all assets and frames within the dimensions defined in the Document panel Print Size Shows the nest in the Layout area at actual print size Fill with Document Scales the Layout area filling the view to the shorter width or height dimension defined in the Document panel Full Screen Toggles between a windowed or full screen view Asset Toggles the view of the Asset panel F1 can also be used Property To
429. ve the LUMA layer but not dipped to it also functions as a normal Photoshop Adjustment Layer As the Adjustment Layer is moved down the Layer Palette and or is clipped to the separated layers its effect becomes more specific and refined Hence the location of an Adjustment Layer becomes another editing control further increasing editing precision The red green and blue channels also remain unaffected by the LUMA and CHROMA separation so normal channel operations are unchanged Automated processes such as Auto Levels and Auto Color are unaffected but in LAB Auto Color is unavailable and Auto Levels only acts on the L channel which makes auto white and black balancing not as quick simple or efficient in as in an RGB colour space Not all blending modes are available in LAB layers and the luminosity hue saturation and colour blending modes don t function as they do in RGB Selective Color Exposure Match Color and Channel Mixer are also unavailable in LAB mode Only Apply image and Calculations remain unaffected in LAB including their original blending mode options The Dodge and Burn tools work on the L channel resulting in much less colour shift than in ROB which is an advantage Unfortunately an Exposure curve does not work in LAB Exposure is effectively changed by lowering or raising the white point of a straight line RGB curve blended on Normal This curve adjustment only shifts brightness without effecting the hue or satur
430. ver If none are present a Connect to Server window will open waiting for an active Server to appear on the network Important Note For Macintosh users only Before starting the Server and Client m Open a Finder window Navigate to the Applications Serendipity Serendipity Megarip directory 3 Highlight the Serendipity Client application Select CMD i or right click and select Get Info Tick the checkbox to enable Open in 32 bit mode Repeat the above steps for the Serendipity Megarip and C5 applications r9 nS If the Open in 32 bit mode checkbox does not appear in the Get Info window Tia get Weck RD ere 2 Open a Terminal r im W 201 X Seu ee window 3 Copy and paste the Ad Bt eode following command into the screen and hit Enter with no line breaks System Library Frameworks CoreServices framework Versio ns A Frameworks LaunchServices framework Versio ns A Support Isregister domain local domain user domain system kill r Page 190 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT 4 The above command will make the Open 32 bit mode option appear in the Get Info window 5 Go to the Finder window right click Get Info and enable this option for Serendipity Megarip Client and C5 Note This is the preferred method for running the Server and Client as not all vendors have converted their SDK s to support 64 bit Some S
431. where the Pagesetup name is used as the printer name Note When adding a new printer through System Preferences on Mac OS X select the Bonjour address pagesetup name computer name as the printer and Serendipity Megarip PPD as the driver e Windows Choose to publish the Pagesetup as a Windows local printer port destination See the Serendipity Software website for details on how to create the Windows printer e TCP Port Choose to publish the Pagesetup to a TCP Port allowing it to be setup as an IP printer destination or as a destination for other Serendipity Megarip Servers e Activate Port Number Enter the TCP port number the Pagesetup will publish to It is necessary for the port number to be 10000 or over and for each Pagesetup to have a unique port Note When adding a new printer Page 247 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT through System Preferences on Mac OS X select IP printer HP Jetdirect Socket for the protocol The address should be in this form computername 10063 Select Serendipity Megarip as the driver When adding a new printer through Windows Select Create a New Port Standard TCP IP Port Enter the computer s network name in the Host ID field When Windows requests additional info for the port select Custom Settings Rename the Port Name if desired Set the Protocol to Raw and the Port Number to the one set in the Pagesetup
432. working with the Adobe Photoshop family Adobe 2007a Adobe Photoshop tamily iC e aa Adobe Photevwao gres you the power to tying your D ded to be through images Whethe pou ve Degcwg 4 Po 0 probes uonal photographe a degam an arcet wes 4 d an engineer c other professional Adobe Mhotothop F7 T p provides you with the digital imaging took you need ON a There s Photoshop for you i x24 Mete Pransonas CRI sa Ate Co ve egw mapa sterg rvw pro irere Lepererte re M tmmanee est power 6 Pa pausoari oye os s K st Most of the examples presented in Adobe s on line advertorials extol the simplicity of editing images in Photoshop contrasted with the innate professionalism Page 83 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT bordering on genius of its advocates Simple cropping and sharpening of images are mixed into a flow of autobiographical anecdotes and on the job revelations Create powerful images with the professional standard The essential software for perfecting your images Adobe 2007b We axe led to believe image management and manipulation is simple and refined when using Adobe products Professional photographers are driven by the art of their craft That s why they have long counted on Adobe Photoshop software for the ultimate in creative control Adobe 2007c We are inculcated into a utopian universe
433. xample pages 2 and 3 asa spread Page 365 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT PAGE NAVIGATOR PANEL Positioned along the bottom of the main SoftProof window the Page Navigator displays a numbered box for each page making up the loaded publication This allows for direct navigation to any page by clicking on the page number Hovering the mouse over a page number will pop up a thumbnail for the page The page boxes are colour coded Light Green indicates the Publication pages are loaded and can be viewed These show as dark green when selected ar Purple indicates there are duplicate pages i e they have the same publication name and page numbers Dark purple indicates the pages are selected il v a Ay c 4 amp 7 3 Clicking on these pages will select and view the alternative page T 22 19532 GOLF TEXT job IMPOSITION Page 7 38 1 19532 GOLF TEXT job Page 007 IMPOSITION 07 24zl 44 4 Light Red indicates the page is not yet 116 available for viewing in SoftProof This normally occurs when there are page number gaps if pages have not yet imaged or rendered or when processing a de imposed publication with known signature defined page numbers As the missing pages image render close and re open SoftProof to update the publication pages Page 366 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH
434. y 2004 http www dxo com 4 Tracking the enrolments in my fine art digital photography workshop program over the past decade reveals that professional artists represent the second smallest cohort The only identifiable group less represented arc amateur camera club members My workshops cover a broad demographic and are offered through venues as diverse as the Centre for Contemporary Photography Meibourne Photo Access Canberra TAFE Colleges and Universities and industry associations such as the Australian Institute of Professional Photography AIPP the New Zealand Institute of Professional Photography NZIPP the Page 81 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Australian Commercial and Media Photographers ACMP and the Accredited Professional Photographers of Australia APPA along with the industry conferences and festivals that regularly present at such as Digital Media World Melbourne and Sydney Photo Marketing Association PMA FotoFreo Fremantle and the Daylesford FotoBiennale Daylesford 5 The source was the Amazon doc book search engine The most recent editions of British Books in Print and the complete catalogues of the U S Library of Congress including its REMARC database list the number of published books that include Photoshop in their title at 1043 to December 2005 and 1277 to June 2007 6 Based on a comparison of the photographic
435. ys on the Page 168 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT photographic emulsion Brighter objects reflect more light through the lens than dimmer objects Dodging and burning in the darkroom increases or decreases the available light But there are no colour appearance models that represent a unified theory of colour vision that is how we experience colour and all its dimensions that constitute colour sensation There is also no colour ordtr system not RGB HSB HSL HSV LAB CMY LUV LCH YCC NCS or Munseil that fully accounts for our perception of colour Device dependent colour spaces such as RGB are based on the characteristics of a device like a monitor rather than how we see the world ROB spaces don t uniformly represent changes in perceived intensity and the RGB components can not be combined in ways that are analogous to the human visual mechanism Green 1999 p 29 Therefore tools that permit the user to extract from a colour system alternative qualities peculiar to their profession perception and experience allows their cares and concerns to be weighted alongside the production marketing business and sales efficiences of software manufacturing To be able to work with the psychological let alone philosophical dimensions of tone and colour we need a unified tool set To adjust the hue of a colour without changing its saturation or brightn
436. ystems have provided OS level color management since 1993 through ColorSync Page 16 of 503 FINE ART PHOTOGRAPHY POSTGRADUATE RESEARCH AND DEVELOPMENT JOURNAL COLOUR MANAGEMENT Since 1997 color management in Windows is handled at the OS level through an ICC color management system Beginning with Windows Vista Microsoft introduced a new color architecture known as Windows Color System P WCS supplements the Image Color Management ICM system in Windows 2000 and Windows XP originally written by Heidelberg EX Operating systems which use the X Window System for graphics use ICC profiles and support for color management on Linux still less mature than on other platforms is coordinated through OpenICC at freedesktop org and makes use of LittleCMS APPLICATION LEVEL As of 2005 most web browsers ignored color profiles Notable exceptions were Safari starting with version 2 0 and Firefox starting with version 3 Although disabled by default in Firefox 3 0 users can enable ICC v2 and ICC v4 color management by using an add on or setting a configuration option Starting from Firefox 3 5 color management is enabled by default only for tagged images although support is limited to ICC v2 profiles owing to a change in color management systems from 3 0 Firefox 8 0 has partial ICC v4 profiles support Internet Explorer 9 is the first Microsoft browser to partly support ICC profiles but it does not rende

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